The University of Louisville
School of Music
presents the
Honor Choir Festival
Dr. Kent Hatteberg, Conductor
with the
Collegiate Chorale
and members of the
University Symphony Orchestra
Margaret Comstock Concert Hall
Monday Evening
January 9,2006
7:00P.M.
Smoking is not permitted in the School of Music Building. In the unlikely event offire or
other emergency, please walk - not run - to the nearest exit. The use of recording devices
is strictly prohibited. Please silence electronic watches, phones, and pagers.
Collegia te Chorale
Kent Hattcberg, director
Sonrano 1
Kelly Ballou
Amanda Tarryn Bryant
Hui-Fang Chen*
Cassic Lyles
Ellen Whittaker
Sonrano II
Alane Hart
Rianne F. Marcum
Emily A. McColIough+
Clairc Mosley
Jessica Towse*
Altol
Kristyn Brown
Kristin Hale
Amanda Harless
Meghan Laurel Patrick
Sarah Elizabeth Patrick
Myco Tran
Amanda K. Walker
Altoll
Mary Beth Harris+
Emily J. Ncubauer
Sarah Powell
PaulaRada
TenorI
Ricky Case
Bill Coleman
Joshua Hein
Stephen Slaton
Jay Wollmann
TenorII
Adam Hardin*
Justin T. Romney*+
Hanpill Ryu*
SeungYongShin*
Kevin Sproul
Bass I
James R. Cooper
Benjamin D. Powell*
Christopher Short!
Justin Wilkey
Bass II
Austin H. Echols, Jr.
R. Andrew Fowler
Brad Ritchie
Ben Riley
Barrett Smith+
*graduate assistants
+section leader
University Symphony Orchestra
Kimcherie Lloyd, director
First Violin
Scott Moore
Juan Carlos Ortega
Joe Ortiguera
EliseKotheimer
Nicole Reiter
Second Violin
Gerome Stewart
Cordia Thompkins
Arzou Etemad
Alex Petersen
Viola
Jim Dersen
Alisson Reber
Monica Clarke
Cello
Erin Cassel
Kristin Roehrig
Bass
Adam Cobb
Clarinet
Noriko Taka
Amber Richeson
Trumpet
Michael Swope
Ryan Nottingham
Timpani
Matt Greenwood
Hosanna II
PROGRAM
Romuald Twardowski
(b. 1930)
Alleluia
Randall Thompson
(1899- 1984)
Na osice (Aspen Leaves)
from Three Moravian Songs
COLLEGIATE CHORALE
Karel Husa
(b. 1921)
Ave verum corpus Wolfgang Amadeus Mozart
(1756- 1791)
Mass in C, D.452 - op. 48 Franz Schubert
Kyrie (1797- 1828)
Gloria
Credo
Sanctus
Benedictus
Agnus Dei
Kelly Ballou, soprano Mary Beth Harris, alto
Bill Coleman, tenor Austin H. Echols, Jr., bass
and
University Symphony Orchestra
PA USE
(Five Minutes)
i
O magnum mysterium Tomas Luis de Victoria
(1548- 1611)
Denn er hat seinen Engeln befohlen Felix Mendelssohn
(1809- 1847)
Alma Llanera Pedro Gutierrez, (1870- 1954)
arr. Angel Sauce
Walk Together Children
HONOR CHOIR
Moses Hogan
(1957-2003)
The Choral Department ofthe University of Louisville School of
Music would like to express special thanks to the following high
school choral directors for their cooperation in helping make this
festival possible.
School
Director
Assumption High School
Jackie Metry
Atherton High School
Stephen Lin
Ballard High School
Noel Weaver
Boyle County High School
Nancy H. Ward
Bullitt Central High School
Amy Parker
Christian Academy of Louisvi 1 le
Amy Isbell
Dun bar High School
Donna Bonner
Eastern High School
Lori Knapke
Fern Creek High School
Sharon Briggs
Garrard County High School
Evelyn (Missie) B. Culp
Henderson County High School
Brett R. Burton
Jeffersontown High School
Linda Moore
June Buchanan School
Danny Jones
Lafayette High School
Janet Graham,Ryan Marsh
Lexington Catholic High School
Adam Beeken
New Albany High School
Linda DeRungs
North Bullitt High School
Paul Shepherd
Oldham County High School
Bambi Wright
Presentation Academy
Catherine Smith
Sacred Heart Academy
JillSchurman
South Spencer High School
David Malone
Western Hills High School
Tiffany Marsh
Whitefield Academy
Greg Ross
WilliamsburgIndependent School
Jackie Melton
Honor
Soprano
Anna Baker, North Bullitt HS
Laura Beam, Lafayette HS
Erin Beavin, Sacred Heart Acad.
Lindsey Bland, Atherton HS
Kasey Brown, Atherton HS
Whitney Burdick, Presentation Acad.
Toni Carroll, New Albany HS
Paige Clark, North Bullitt HS
Harli Cooper, Presentation Acad.
Emily Furlong, Henderson Co. HS
Claire Garst, Sacred Heart Acad.
Sara Gleason, North Bullitt HS
Samantha Goodwin, South Spencer HS
Stephanie Gunn, Henderson Co. HS
Alex Hart, Jeffersontown HS
Leslie Hensley, Williamsburg HS
Anna Catherine Hook, Ballard HS
Laura Jackson, Eastern HS
Jenny Jacoby, Lafayette HS
Erin Keesy, Lafayette HS
Kelsey King, Western Hills HS
Kristen Lamb, Dunbar HS
Kristin Lumbrix, Whitefield Acad.
Sarah May, South Spencer HS
Kara McCane, Garrard Co. HS
Julia McCormick, New Albany HS
Amanda McDonald, Assumption HS
Rebecca Meeks, Garrard Co. HS
Heather Miller, Garrard Co. HS
Lacey Napper, Christian Acad.
Blair Owens, Western Hills HS
Michelle Payne, Presentation Acad.
Martha Prewitt, Lexington Cath. HS
Angela Prindle, Williamsburg HS
Angela Roberts, Christian Acad.
Whitney Roberts, Ballard HS
Sabrina Saia, Lexington Cath. HS
Melissa Shannon, Boyle Co. HS
Kate Steltenpohl, Sacred Heart Acad.
Tara Waldrop, Garrard Co. HS
Jacki Weittenhiller, Lafayette HS
Kelly Welding, Sacred Heart Acad.
Christina White, Eastern HS
Kelli White, Ballard HS
Amber Whittaker, Jeffersontown HS
Melissa Wingfeld, Presentation Acad.
Choir 2005
Alto
Katie Allen, Eastern HS
Sara Austin, Bullitt Central HS
Amelia Baggett, North Bullitt HS
Nicole Bass, Jeffersontown HS
Tiffanie Baunach, North Bullitt HS
Krista Bowen, New Albany HS
Krystal Bruner, Bullitt Central HS
Danielle Burch, Christian Acad.
Mera Corlett, Presentation Acad.
Mariel Eben, Christian Acad.
Beth Evans, Henderson Co. HS
Shareika Fisher, Lafayette HS
Lindsey Hanner, Lexington Cath. HS
Emily Harris, Atherton HS
Erin Heckmann, Sacred Heart Acad.
Marlena Hendry, Garrard Co. HS
Maria Kennedy, Presentation Acad.
Lindsey Lewis, Western Hills HS
Sydney Magers, New Albany HS
Abby McCullough, Eastern HS
Jackie McKinney, Jeffersontown HS
Jessica Meece, South Spencer HS
Rori Middleton, Boyle Co. HS
Jessica O’Connell, Western Hills HS
Kennedy Prather, Sacred Heart Acad.
Holly Riggs, North Bullitt HS
Samantha Robb, Christian Acad.
Erin Rogers, Ballard HS
Carlie Schoner, Lafayette HS
Brittany Schonk, South Spencer HS
Emily Teaford, Sacred Heart Acad.
Katelyn Thompson, North Bullitt HS
Sloane True, Western Hills HS
Kelsey Tucker, Bullitt Central HS
Ainsley Wagoner, Lafayette HS
Tembre Watkins, Ballard HS
Toni Wheeler, Bullitt Central HS
Ashley Willinghurst, New Albany HS
Jessica Wood, Williamsburg HS
Alyssa Zimheld, Atherton HS
Tenor
Chad Blackwell, Boyle Co. HS
Aaron Byers, North Bullitt HS
Rob Carlson, Ballard HS
Jacob Carmack, Western Hills HS
Nathan Duckcr, Ballard HS
Justin Estes, South Spencer HS
Josh Hamilton, Lafayette HS
Dejai Herald, Ballard HS
Marcus Hart, Atherton HS
Jacob Hepp, Jeffersontown HS
Byung hoon Lee, Lexington Cath. HS
Kevin Love, New Albany HS
Schyler McNeil, Eastern HS
Mike Meadors, Lexington Cath. HS
Chris Miller, South Spencer HS
Andrew Rafla, Christian Acad.
David Randall, Ballard HS
Stephen Richardson, Henderson Co. HS
Joshua Roberts, Garrard Co. HS
Casey Scott, Eastern HS
Dwayne Scott, Jeffersontown HS
Dustin Seabolt, North Bullitt HS
Bass
Andrew Baker, Lexington Cath. HS
Brandon Brewer, Fern Creek HS
Kyle Brumley, Western Hills HS
David Eicher, Jeffersontown HS
Taylor Eisenmenger, Christian Acad
Westley Fair, New Albany HS
Chris Flynn, Bullitt Central HS
Jacob Hein, Oldham Co. HS
Ryan Homung, Eastern HS
Brett Howard, New Albany HS
Byron Keeling, Whitefield Acad.
Rob Monsma, Ballard HS
Jacob Morgan, Jeffersontown HS
Phillip Morgan, Henderson Co. HS
Nick Mudd, Lexington Cath. HS
Max Nold, Atherton HS
Nick Pappe, Eastern HS
James Pennington, Lafayette HS
Chris Reinke, Christian Acad.
Caleb Tomlinson, South Spencer HS
David Tyler, Boyle Co. HS
Lance Walton, Garrard Co. HS
John Watkins, Henderson Co. HS
Jacob Weaver, Ballard HS
Ben West, Ballard HS
School of •
music
INIVERSITYof LOUISVILLE,
--
dare to be great
presents
Preparatory
Department
Faculty Recital
Tuesday Evening
January 10, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. P uhsf. silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Danzas Argentinias Alberto Ginastera
Danzas del viejo boyero (1916-1983)
Danza de la moza donosa
Danza del gaucho matrero
Christopher Douglas, piano
Horn Lokk Sigurd Berge
(1929-2002)
John Little, horn
E pur cosi in un giomo...Piangero la sorte mia
from Giulio Cesare
Lorie Williamson, soprano
David George, piano
G. F. Handel
(1685-1759)
Prelude in G Minor, Op. 23, No. 5 Sergei Rachmaninoff
Prelude in D Major, Op. 23, No. 4 (1873-1943)
Drew Foley, piano
Sonata in F Major, Op. 24 Ludwig van Beethoven
Allegro
Paola Manrique, violin
David George, piano
Sonata in E Minor
Andante
Allegro
Rebecca Johnson, flute
Debbie Dierks, piano
(1770-1827)
J. S. Bach
(1685-1750)
Sicilienne, Op. 28
Gabriel Faure (1845-1924)
arr. McLean
Tango "El Chocio"
Angel Villoldo (1861-1919)
arr. McLean
Mary Illback, violin
Franzeli Sharp, violin
Karen Griffin, piano
Prelude in G-sharp Minor, Op. 32, No. 12 Sergei Rachmaninoff
Vernon Cherrix, piano
Variations on a Theme of Paganini Janos Starker (b. 1924)
for Unaccompanied Cello Hans Bottermund (1892-1949)
Wayne Krigger, cello
Je suis Titania
from Mignon
Amanda Boyd, soprano
David George, piano
Ambroise Thomas
(1811-1896)
Psyche and Eros
Wings
Longing
Oats, barley, rye, oats, barley, rye, wheat
Sleep
Transformation
Denine LeBlanc, piano
Sara Buchanan MacLean
(b. 1952)
Eine Kleine Nachtmusik
Allegro
W. A. Mozart (1756-1791)
Michael Ehrhardt (1914-1999)
Vernon Cherrix, Christopher Douglas,
Drew Foley, & Denine LeBlanc, piano
TEXTS & TRANSLATIONS
E PUR COS'I IN UN GIORNO-.PlANGERO LA SORTE MIA
from Giulio Cesare
G. F. Handel
(1685-1759)
E pur cosi un giomo,
perdo fasti e grandezze?
Ahi fato rio!
Cesare, il mio bel nume,
e forse estinto
Cornelia e Sesto inermi son,
Ne sanno darmi soccorso.
Oh Dio! Non resta alcuna
speme al vivir mio?
Why then, in one day, am I deprived
of magnificence and glory?
Oh, cruel fate!
Caesar, my beloved idol,
is probably dead,
Cornelia and Sesto are defenseless
And cannot give me assistance.
Oh God! Is there no hope left
in my life?
Piangero la sorte mia,
Se crudele e tanto ria,
Finche vita in petto avro.
Ma poi mortal d'ogn'intomo,
II tiranno e notte e giomo,
Fatta spettro agitero.
I will bemoan my fate
So cruel and bmtal.
As long as there is breath left in my body.
And when I am dead and
Become a ghost, I will haunt
Tyranny night and day.
Cleopatra has been taken prisoner by her brother, Ptolemy, who
has defeated her army in battle. Her allies, Cornelia and Sesto,
have been taken prisoner as well. Caesar, who has also taken part
in the battle, has disappeared and is assumed dead. Cleopatra,
alone and mourning for Caesar, bewails her fate as she is led away.
(continued on reverse)
TEXTS & TRANSLATIONS
E PUR COSI IN UN GIORNO.. .PlANGERO LA SORTE MIA
from Giulio Cesare
G. F. Handel
(1685-1759)
E pur cosi un giorno. Why then, in one day, am I deprived
perdo fasti e grandezze? of magnificence and glory?
Ahi fato rio! Oh, cruel fate!
Cesare. il mio bel nume. Caesar, mv beloved idol.
JesuisTitania
from Mignon
Oui, pour ce soir
Je suis reine des fees!
Voici mon sceptre d'or
Et voici, mes trophees!
Je suis Titania la blonde.
Je suis Titania, fille de l'air!
En riant, je parcours le monde
Plus vive que l'oiseau.
Plus prompte que l'eclair!
Ah! Je parcours le monde!
La troupe folle des lutins
Suit mon char qui vole
Et dans la nuit fuit!
Autour de moi toute ma cour court,
Chantant le plaisir et l'amour!
La troupe folle des lutins
Suit mon char qui vole
Et dans la nuit fuit
Au rayon de Phoebe, qui luit!
Parmi les fleurs
Que 1’aurore fait eclore.
Par les bois et
Par les pres diapres,
Sur les flots couverts d'ecume,
Dans la brume, on me voit
D'un pied leger voltiger!
D'un pied leger,
Par les bois, par les pres,
Et dans la brume.
On me voit voltiger!
Ah! Voila Titania!
Ambroise Thomas
(1811-1896)
Yes, for this evening
I am queen of the fairies!
Here is my sceptre of gold.
And here are my trophies!
I am Titania the fair.
I am Titania, daughter of the air!
Laughing, I traverse the world
More lively than the bird,
Quicker than the flash of lightning!
Ah! I traverse the world!
The impish band of sprites
Follows my chariot, which flies
And recedes into the night!
Around me, all my court races.
Singing of pleasure and love!
The impish band of sprites
Follows my chariot, which flies
And recedes into the night
At Phoebus' ray, which gleams!
Among the flowers
Which daybreak brings to bloom.
Through the woods and
Through the multi-colored meadows.
Over the waves topped with foam.
In the mist, one sees me
Light-footedly fluttering about!
Light-footedly,
Through the wood, the meadows.
And in the mist,
I am seen fluttering about!
Ah, there's Titania!
ll-vt_94
The Flute Society of Kentucky
presents
SEVENTH ANNUAL
KENTUCKY FLUTE
FESTIVAL
Sponsored in part by
Miyazawa Flutes, Miles Ahead, Flute World
Hosted by
University of Louisville
School of Music
Stephanie Rea, program chair
Kathy Karr, site chair
2006 KENTUCKY FLUTE FESTIVAL
WELCOME!
into these two days. Have fun and make the most of it.
I would like to recognize the many people who have come together to makeThis event
happen. Please make an effort to go out of your way to thank these people for
involvement in our festival. Without them, the 2006 Kentucky Flute Festival would
be possible.
Competition judges: Brian Luce, Lisa McArthur, Heidi Pintner, Heather Verbeck
Flute choir coordinator: Kristy Kirsh
Flute choir directors: Brian Luce, Ashley Mattingly, Jacquie Miller
Presenters: Kristy Kirsh, Heather Verbeck Brian Luce, Kim Risinger, Miles Davis
Guest Artist: Tadeu Coelho
Guest Artist Coordinator: Lisa McArthur
Site host: Kathy Karr and University of Louisville
FSK Webmaster: Sonny Burnette
FSK Board Members: Todd Farmer, Susan Froedge, Lisa McArthur, Heidi Pintner,
Gordon Cole, Sonny Burnette, Stephanie Rea, Kristy Kirsh, Laura Finley
Performers: Nina Perlove, Kim Risinger, Stephanie Rea, Heather Verbeck, Kristen Kean,
Lisa McArhtur, Heidi Pintner, Kathy Karr, Brian Luce, Angelo Favis, Denine
LeBlanc
FSK Pianists: Matthew Mazzoni and Martha Saywell
Exhibitors: Miles Ahead, Flute Specialists, Howard Vance Guitar Academy and Tootpick
Publishing, Yamaha Flutes, Williams Flutes
Sponsors: Miles Ahead, Flute World, Miyazawa
Many thanks also with apologies to anyone I have forgotten. So many people help to
make this event possible, it quite a task just to keep up with them all! Lastly, thank YOU
for being here. Best wishes in all of your endeavors.
Sincerely,
Stephanie Rea
2006 Festival Program Chair
5350
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Piccolos & Headjoints
Arista • Dean Yang • diMedici • Emerson
Hammig • Hardy • Haynes • Jupiter • Lyric
Miyazawa • Muramatsu • Nagahara
Parmenon Paris • Pearl • Tom Green
Trevor James
and more upon request
Also Available Used Flutes,
Piccolos and Headjoints
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SPECIALISTS
Serving The Needs Of Flutists
Over 23 Years of
Expert Guaranteed
Repairs & Service!
email: info@flutespecialists.com
web address: www flutespecialists.com
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1 - 888 - 590-5722 (Toll Free)
606 S. Rochester Road • Clawson, Ml 48017
2006 KENTUCKY FLUTE
FESTIVAL SCHEDULE
Friday, January 13, 2006
8:00 - 12:00 Registration/Check-in (Lobby outside Comstock Hall)
9:00 - 12:30 Competitions Rehearsals
1:00 - 5:30 Competitions judged by Brian Luce, Heather Verbeck (Comstock)
Competitions are open to anyone registered for the 2006 KY Flute Festival. Please enter
the hall only in the breaks between competitors. Please hold your applause until the
competitor is finished with their final piece.
1:00
JS #1 Casey Adams
2:30
1:10
JS #2 Alexandra Conza
3:00
1:20
JS #3 Stephanie Gaiko
3:30
1:30
HS #1 Lauren Carr
4:00
1:50
HS #2 Anthony Cole
4:30
2:10
HS #3 Melissa Gensler
5:00
CA#1 Seth Morris
CA #2 Sarah Schneider
CA #3 Heather Waters
YA #1 Bonnie Doyle
YA #2 Jana Flygstad
YA #3 Jennifer Mazzoni
Junior Soloist
As She Was by Catherine McMichael
Collegiate Artist
Movin' On by Rhonda Larson
Sonata in E Minor by J.S. Bach
5:30
7:00 pm
8:00 pm
High School Soloist
D'un Matin de Printemps by Lili Boulanger
Sonata in G Major by G.F. Handel
Young Artist
Aubade by Libby Larsen
Concerto for Flute by Eric Ewazen
Dinner Break
Registration/Check-in (Lobby outside Comstock Ham
Flute Some, „ f Kentucky Ptofesstona, PwS££ (Comstock
8:00 - 11:00 Registration/Check-in (Comstock lobby)
8:30 Welcome Announcements - Stephanie Rea and Kathy Karr (Comstock)
8:35 - 9:25 Tadeu Coelho’s Flute Workout (Comstock)
9:30 - 10:00 Intermediate Class with Kristy Kirsh Introduction to the Piccolo, E-flat,
Alto, Bass (Room 140)
9:30 - 10:00 Advanced Class on Stage Presence - Brian Luce (Comstock)
10:05 - 10:55 Flute Choirs - Kristy Kirsh, coordinator
Intermediate Grade 6-9 with Ashley Mattingly (Rm 140)
Advanced Grades 10-12 with Jacquie Miller (Rm 125)
College with Brian Luce (Rm 135)
10:05- 10:55 Famous Recordings with Heather Verbeck (Rm 142)
This session is geared towards non-students, amateur through professional
11:00 - 12:00 Kentucky University Student Recital (Comstock)
12:00 - 1:00 Lunch and visit exhibits
12:00 - 7:00 Exhibits are open. Flutes, music and accessories to try or buy. (Rm 267)
1:00 - 2:00 Guest Artist Tadeu Coelho Recital with Matthew Mazzoni (Comstock)
2:00 - 2:40 Advanced Track Flute Repair with Miles Davis (Rm 140)
2:00 - 2:40 Intermediate class with Kim Risinger (Comstock)
2:45 - 4:15 Advanced Masterclass with Tadeu Coelho (Comstock)
2:45 - 3:30 Intermediate Class Observes first half of Coelho Class (Comstock)
3:30 - 4:15 Intermediate Students Visit Exhibitors (Rm 267)
4:20 - 5:00 The Linden Duo in Recital, Kimberly McCoul Risinger and Angelo Favis,
flute and guitar (Comstock)
5:00-5:30 Visit Exhibits (Rm 267)
5:30 - 6:15 Flute Choirs Rehearse (same rooms as in the morning)
6:15-7:15 Dinner and exhibits
6:45 - 7:10 Pick up your Tshirt (at the information table in the exhibit hall)
7:15 Meet your flute choir in the audience (Comstock)
7:30 Final Concert (Comstock)
PROFESSIONALS’ RECITAL
Comstock Hall
University of Louisville
Suite, Op. 34, No. 1
Moderato
Allegro Vivace
8:00 p.m.
Friday, January 13. 2006
Charles-Marie Widor
(1844-1937)
Nina Perlove, flute; Northern Kentucky University
Denine LeBlanc, piano
Blip, Blip, Blip (2001)
Allegro
Pensieroso
Tarantella
Gary Schocker
(b. 1959)
Lisa McArthur, flute; Campbellsville University
Solo Parable XII for Solo Piccolo
Vincent Persichetti
(1915-1987)
Heather Verbeck, piccolo; Cincinnati College-Conservatory of Music
Soliloquy, Op. 44
Concertino
Andante con moto
Rhythmania
Sound Bytes
Kim Risinger, flute; Illinois State University
Don Gottlieb, flute
Fan Xiao, viola
Robert Docs, double bass
Stephanie Rea, flute; Murray State University
Lowell Liebermann
(b. 1961)
Ervin Schulhoff
(1894-1942)
Heather Verbeck and Kristen Kean, flutes'
Stephanie Rea
(b. 1973)
Katherine Hoover
The Great Train Race
CCM and Eastern Kentucky University ^ ^
Fantaisie
Brian Luce, flute; University of Arizona
Ian Clarke
(b. 1964)
Gabriel Faure
H vr (1845 - ] 937 )
Western Kenteckv Un ^ ^ Kathy Karr ’ ^tes 3rr Wi,lia m Bennett
^Yamaha.
tare'iwbrld
Hi^ arid
'^roiiucing *
sc consistent,'
^jnstmments
\=i ! 4,-■' '
•mee, of the
nWctrrtctha YFU872H.
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f.W • '*f •••* • i > ^ /
exibility as
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©2004 Yamaha Corporation o( America
ama a is a registered trademark ol Yamaha Corporation of America. AJI Rights Reserved, www.yamaha.com
UNIVERSITY STUDENT
PERFORMERS’ RECITAL
Comstock Hall 11:00 a.m.
University of Louisville _ Saturday, January 14, 2006
Sonata Piccolo (S. 8va) P.D.Q. Bach
Andante Piccola (1807-1742)?
Allegro Piccola
Ancora Andante Piccola
Ancora Allegro Piccola
Ashley Mattingly, piccolo
A. Matthew Mazzoni, piano
Murray State University (Prof. Stephanie Rea)
Beach Music
Catherine McMichael
E|, za be th Alexander, Jennifer Crump, Mary Alice Ratzlaff, Meredith Lopez flutes
estern Kentucky University Flute Quartet (Prof Heidi Pintner)
(b. 1954)
Flutes en Vacances
Flutes legeres
Joseph Alexander, Rachel Deren Ash,ey Matting*, Hea,her Waters flptes
Murray State Flute Quartet ‘ers, nutes
(Prof. Stephanie Rea)
Jacques Casterede
(b.1926)
Zoom Tube
7 , . Rebecca Johnson
University of Louisville (Prof. Kathy Karr)
Ian Clarke
(b. 1964)
Rondo Caprice
“""tily'S^^-r^-^r-BethOarreh
Eastern Kentucky Unilersto cT^ c a0luoci '
■versity Flute Ensemble (Prof. Kristen Kean)
Joshua Missal
(b.1915)
invites you to become part of our
Tradition of Excellence
See Dr. Stephanie Rea
at the 2006 Kentucky Flute Festival
Department of Music
Murray State University
504 Fine Arts Building
Murray, Kentucky 42071-3342
Phone: (270)762-4288
stephanie.rea@murraystate.edu http://www.murraystate.edu/chfa/music
Scholarship Audition Dates
January 27,2006
February 20,2006
February 24,2006
Study Flute at Western
2006 Scholarship Audition Dates: January 21, February 17, 18, 24, 25
Preparing students for careers as:
Private Instructors
Music Educators
Members of Orchestras
Studio Musicians
and just for the love of it!
US
WKU Flute Day
April 22, 2006, 8:00 a.m.-9:00 p.m.
Professional Development Lecture and
Master Class Recital
Meet Guest Artists Michel Debost and Kathleen
Chestain, Professors of Flute, Oberlin Conservatory,
Ohio.
Sponsored by the Brannen-Cooper Fund, the Flute Society of Kentucky
and Western Kentucky University
WESTERN Please contact Dr. Heidi Pintner, Assistant Professor of Music
KENTUCKY heidi.pintner@wku.edu
UNIVERSITY 270.745.4696
Rea
Solo French and American
Flute Works
This Centaur Records release contains standard solo flute repertoire by Debussy, Muczynski, Ibert,
Bozza, Honegger, Hoover, DeLaney, as well as works by Folio, Rea, and Poulenc.
To order your copy, send a $15 check or money order made payable to Stephanie Rea to.
Stephanie Rea Flute CD
530 Price Doyle Fine Arts Center
Department of Music, Murray State University
Murray, Kentucky 42071
Howand Vance Guimn Academy
home of
TootPick Publishing
A house specializing in:
instructional materials,
original works,
transcriptions,
arrangements, #
record
accessories for
flute & guitar by
- -Duo Vance -
www.HowardVance.com
om 7^^n r /i d A gU ^ tar * Beverly-flute
978 Rpdiffb 6940 a Fax 901-767-5124
9/8 Reddoch Cove • Memphis, TN 38119
GUEST ARTIST RECITAL
TADEU COELHO
Comstock Hall 1:00 p.m.
University of Louisville _ Saturday, January 14. 2006
With A. Matthew Mazzoni, piano
Sonata in F Minor
Andante Cantabile
Allegro
Andante
Vivace
Improviso for solo flute (1974)
Sonatina
Allegretto grazioso
Andantino sognando
Allegro giocoso; quasi fandango
Georg Phillipp Telemann
(1681-1767)
Osvaldo Lacerda
(b. 1927)
Eldin Burton
(1914-1979)
Intermission
Sonata Latino for flute and piano Mike Mower
Salsa Montunate (b. 1959)
Rumbango
Bossa Merenga
Harlequin for solo flute (2000) Margaret Cornils
(b. 1960)
Flute Variations (c. 1903)
Pattapio Silva
(1880-1907)
MASTERCLASS WITH TADEU COELHO
Comstock Hall
University of Louisville
2:45 p.m.
Saturday. January 14, 2006
Suite, Op. 34
Romance
Image, Op. 38
Ju Me Lee
Southern Illinois University
(Prof. Suzanne Lord)
Heather Waters
Murray State University
(Prof. Stephanie Rea)
Minuet and Dance of the Blessed Spirits
Robyn Hooks
Adult student
(Emily Butterfield, teacher)
American Suite
Floyd Anthony Cole
Meade County High School
(Jacquie Haynes Miller, teacher)
Sonata in B Minor, BWV 1030
Andante
MaryAlice Ratzlaff
Western Kentucky University
Duo for Flute and Piano r °f- Heidi Pintner)
Katherine Stahl
"tPmf u iVerSilyS0Wheast
(Prof. Margaret Jamner)
Charles Marie Widor
(1844-1937)
Eugene Bozza
(1905-1991)
Ch. W. Gluck
Gary Schocker
(b. 1959)
Johann Sebastian Bach
(1685-1750)
Aaron Copland
(1900-1990)
Miles Ahead Music is a proud distributor of
MIYAZA WA, PEARL , HAMMIG ,
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Other Brands are Available.
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LINDEN DUO RECITAL
KIMBERLY MCCOUL RISINGER AND
ANGELO FA VIS
Comstock Hall 4:20 p.m.
University of Louisville _ Saturday. January 14, 2006
Sonata in E Minor
Adagio
Allegro
Grave
Minuet
G.F. Handel
(1685-1750)
Snow Dreams
Joan Tower
(b. 1938)
Histoire duo Tango
Bordel 1900 Astor Piazzolla
Nightclub 1960 (1921-1992)
Concert d 1 aujourd'hui
I
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KENTUCKY FLUTE FESTIVAL
FINAL CONCERT
Comstock Hall 7:30 p.m.
University of Louisville _ Saturday. January 14, 2006
with A. Matthew Mazzoni and Martha Saywell, piano
As She Was
Junior Soloist Competition Winner
Catherine McMichael
(b. 1959)
D'un Matin de Printemps
High School Soloist Competition Winner
Sonata in E Minor
Concerto for Flute
Collegiate Artist Competition Winner
Young Artist Competition Winner
Lili Boulanger
(1893-1918)
J.S. Bach
(1685-1750)
Eric Ewazen
(b. 1954)
Selection to be announced
Selection to be announced
Selection to be announced
Primeiro Amor (First Love)
Intermediate Flute Choir C ° mp0ser t0 be announced
Ashley Mattingly, director
Advanced Flute Choir Com P oser to be announced
Jacquie Miller, director
Collegiate Flute Choir Com P°ser to be announced
Brian Luce, director
My Old Kentucky Home
Tadeu Coelho
Pattapio Silva
(1880-1907)
?nn* v Stephen Foster
Kentucky Flute Festival Participants J ™ Moore
Mark your calendar
The Eighth Annual
Kentucky Flute Festival
January 12 - 13, 2007
Guest Artist: TBA
Eastern Kentucky University
Richmond, Kentucky
Kristy Kirsh, program chair
Kristen Kean, site chair
Raffle prizes include a David
Williams headjoint of your choice.
www.fskentucky.org
2007 COMPETITIONS
Junior Soloist . . , , h e onnY Burnette available at
Recorded Romd: newly commissioned work by bonny B
www.fskentukcy.org on 7/1/06
Final Round: “Minuet” from Suite in A Minor, found in Solos for Flute published by
Carl Fischer, take repeats (any edition acceptable)
High School Soloist
Recorded Round: Rhythmania by Stephanie
Rea available at www.fskentucky.org
on 7/1/06
Final Round: Andante Pastorale et Scherzettino by Paul Taffanel (any edition)
Collegiate Artist
Recorded Round: Valentine Trills by Joan Tower (available in Carol Wincenc’s
“Valentines” Collection with recording, published by Carl Fischer)
Final Round: 1) Sonata in C major by J.S. Bach, all repeats, any edition; 2) Summer
Music by Richard Rodney Bennett
Young Artist
Recorded Round: “...and the strange unkownflowers...” by Charles DeLaney
Final Round: 1) Sonatine by Walter Gieskeing; 2) East Wind by Shulamit Ran
Recording postmark deadline is November 1, 2006
Further information will be posted on
www. fskentucky. org
on July 1,2006
Administration
Christopher Doanc, Dean
Naomi Oliphanc, Associate Dean
m
■o
T3
V
Applied Music Studies Division
Keyboard
Robert Boozman, Organ
Vernon Cherrix, Piano
Brenda Kce, Piano
Naomi Oliphant, Piano
Karen Griffin, Class Piano
Krista Wallacc-Boaz, Class Piano
Strings
Elaine Cook, Harp
Sidney King, Double Bass
Jamie Hofman, Viola
J. Patrick Rafferty, Violin
Marcus Ratzcnboeck, Violin
David Walker, Guitar
Paul York, Cello
Voice
Donn Evercttc Graham, Baritone
Edith Davis Tidwell, Soprano
Daniel Weeks, Tenor
School of
music
IMVERSITYoJ IDUISVILLE
dare to be great
Undergraduate and Graduate Programs in
Piano Pedagogy, Performance, Music Education,
MusicTfierapy, Music History, Music Industry,
jazz Studies, and Theory/Composition
igniting innovation
EMBRACING TRADITION
Woodwinds
Leanna Booze, Oboe
Don Gottlieb, Flute
Kathleen Karr, Flute
Matthew Karr , Bassoon .
John Moore, Saxophone
Dallas Tidwell, Clarinet
Tim Zavadil, Clarinet
Brass
Bruce Heim, Horn
John Jones, Euphonium/Tuba
Herbert Kocrselman, Trumpet
Brett Shuster, Trombone
Michael Tunncll, Trumpet
Percussion
Gregory Byrne, Percussion
Brian Kushmaul, Percussion
Ensembles &. Conducting Division
Gregory Byrne, Cardinal Marching Band/Concert Band
Kent Hatteberg, Director of Choral Activities
Kimcherie Lloyd, Director of Orchestral Studies/
University Opera/Symphony Orchestra
Michael Ramach, Opera Workshop _
Frederick Speck, Director of Bands/Wind Symphony/
New Music Ensemble
Jazz Studies Division
Jim Connerlcy, Jazz Piano
Chris Fitzgerald, Jazz Piano
John La Barbera, Computer Technology/Music Industry
Jason Tiemann, Drum Set
Mike Tracy, Saxophone
Craig Wagner, Jazz Guitar
Tyrone Whcclpr, Jazz Bass
Music Education &. Music Therapy Division
Music Education
Robert Amchin
Christopher Doane
Richard Dugger
John La Barbera
Linda Ffatti
Cheryl Schaefer
Gerald Tolson
Music Therapy
Joy Berger
Shannon Bowles
Kerry Chamberlain
Michael Clark
Lorinda Jones
Jennifer Krider
Chcrylc Lawrence
Carmen Osburn
Cynthia Rhodes
Melissa Walter
Barbara Wheeler
Music History Division
Jack Ashworth
Jean Christensen
John Kays
Scan Mulhall
Steve Noble
Scow-Chin Ong
Michael Ramach
MattSchaffner
Julia Shinnick
Michael Sprowles
Music Theory &.
Composition Division
Paul Brink
Anne Marie de Zccuw
Paul Dell Aquila
Chris Fitzgerald
Steve Rouse
MarcSattcrwhitc
Christopher White
Strong financial aid program including
generous scholarships,
graduate teaching assistantships,
& fellowships
Audition Dates for Fall 2006 Admission.
February 4 February 18 March 25
i and docs not discriminate against persons because of race, age. religion, sex. handicap, color, or natlona 6
Music
Wfi-
“o' . *
v<vai
As one of only two private universities in Kentucky accredited through the National
Association of Schools of Music, Campbellsville's School of Music prepares students tor
nearly every aspect of music education and performance through a superb faculty
three of whom have been named KMEA College/University Teachers of the Year during
the past decade—and through the modern Gosser Fine Arts Center.
There are plenty of opportunities to perform at Undergraduate and Graduate levels, too.
Musical ensembles include the Tiger Marching Band, Concert Band, Wind Ensemble,
University Chorale, Jazz Ensemble, Orchestra, Handbell Choir, Opera Workshop, Flute-
Ensemble, Concert Chorus, and more.
To find out more, contact Dr. J. Robert Gaddis, Dean, School of Music, at 1.800.264.6014
or at 270.789.5237 or www.campbellsyille.edu.
Find your calling
UNIVERSITY
PROFESSIONALS’ RECITAL
Comstock Hall 1 8:00 p.m.
University of Louisville _ Friday, January 13. 2006
Suite, Op. 34, No. 1 Charles-Marie Widor
Moderato (1844-1937)
Allegro Vivace
Nina Perlove, flute; Northern Kentucky University
Denine LeBlanc, piano
Blip, Blip, Blip (2001) Gary Schocker
Allegro (b. 1959)
Pensieroso
Tarantella
Lisa McArthur, flute; Campbellsville University
Solo Parable XII for Solo Piccolo . Vincent Persichetti
(1915-1987)
Heather Verbeck, piccolo; Cincinnati College-Conservatory of Music
Soliloquy, Op. 44
Kim Risinger, flute; Illinois State University
Lowell Liebermann
(b. 1961)
Concertino Ervin Schulhoff
Andante con moto (1894- 1942)
Don Gottlieb, flute
Fan Xiao, viola
Robert Docs, double bass
Rhythmania
Stephanie Rea, flute; Murray State University
Stephanie Rea
(b.1973)
Sound Bytes
Katherine Hoover
..' (b. 1929)
Heather Verbeck and Kristen Kean, flutes; CCM and Eastern Kentucky University
The Great Train Race
Brian Luce, flute; University of Arizona
Ian Clarke
(b. 1964)
Fantaisie
Gabriel Faure
(1845 - 1937)
arr. William Bennett
Heidi Pintner and Kathy Karr, flutes
Western Kentucky University and University of Louisville
Denine LeBlanc, piano
music
UNIVERSITY of LOUISVILLE
dare to be great
presents
Fabio Brum
trumpet
with
Krista Wallace-Boaz, piano
Michael Tunnell, trumpet
Guest Recital
Wednesday Evening
January 18, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of record ing devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Concerto in D Major
Allegro moderato
Andante
Allegro grazioso
Giuseppe Tartini
(1692-1770)
Concertino (1948)
Andre Jolivet
(1905-1974)
Sonatina (1947)
Toccata, allegro con brio
Canzona, J = 60
Segnalia, J = 112
Hans Werner Henze
(b. 1926)
Concerto for Two Trumpets
Allegro
Largo
Allegro
Antonio Vivaldi
(1678-1741)
BIOGRAPHY
Fabio Brum
trumpet
Fabio Brum was bom in 1981 in Rio de Janeiro, Brazil, and
began to study the trumpet there with his grandfather,
Inacio Pepino, at the age of seven. At the age of 16 he went
to the USA and studied trumpet with Dr. Michael Tunnell.
He won prizes in numerous competitions including First
Prize in the 2003 National Trumpet Competition College
Etude Division (USA), Second Prize in the 2003 National
Trumpet Competition College Solo Division (USA), and
Second Prize in the 2001 Intemation Tmmpet Guild Solo
Competition. Most recently he was a semi-finalist in the
2005 Philip Jones International Trumpet Competition
(France). Mr. Brum studies trumpet with Prof. Reinhold
Friedrich and Dr. Edward Tarr in the Staatliche Hochschule
fur Musik Karlsruhe (Germany) since 2004.
School of
music
INIVERSllYof LOUISVILLE.
dam to be great
Thursday, January 19, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Prayer of Saint Gregory
Gabrielle Brown, trumpet
MUS 211 / Tunnell
Matt Janssen, piano
Sonata for Trumpet and Piano
II. Allegretto
Charles Calloway, trumpet
MUS 304/Tunnell
Debbie Dierks, piano
Partita
I. Prelude-Allemande
Convocation
Alan Hovhaness
(1911-2000)
Eric Ewazen
(b. 1952)
Erwin Dressel
(1909-1972)
Jennifer Hoffmann, alto saxophone
MUS 312 / Moore
Debbie Dierks, piano
music
IMVERSIIYoJ IOUISVILLE
0^* """ —
<iare to be great
presents
For Her
A Recital of Songs in Praise of Women
Daniel Weeks, tenor
with
Naomi Oliphant, piano
Faculty Recital
Thursday Evening
January 19, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other emergency, please
walk to the nearest exit. The use of recording devices and flash photography is strictly prohibited. Please silence
CELL PHONES , ELECTRONIC WATCHES AND PAGERS. Thank yOU.
PROGRAM
To Julia, Op. 8
Roger Quilter
Prelude
The Bracelet
The Maiden Blush
To Daisies
The Night Piece
Julia's Hair
Interlude
Cherry Ripe
(1877-1953)
Nell
Gabriel Faure
Lydia
Sylvie
(1845-1924)
Adelaide
Ludwig van Beethoven
(1770-1827)
Phydile
Henri Duparc
(1848-1933)
Cacilie
. PAUSE
Richard Strauss
(1864-1949)
To Juliet
Timothy Hoekman
(b. 1954)
To Cloris
Richard Faith
(b. 1926)
Diaphenia
Dominick Argento
(b. 1927)
Tre Sonnetti del Petrarca
Franz Liszt
Pace non trovo
Benedetto sia T giomo
I' vidi in terra angelici costumi
(1811-1886)
BIOGRAPHIES
Daniel Weeks, tenor
Since joining the faculty of the University of Louisville in 1998, Daniel Weeks has maintained an acth
recital, concert and operatic career. A 1999 Metropolitan Opera National Council Auditions nation
finalist, and the winner of the 1999 National Federation of Music Clubs Young Artist Competition, as we
as a 2000 New York recital debut with the Marilyn Home Foundation, Mr. Weeks has performed with tl
Oratorio Society of New York, as well as with the Orchestra of St. Luke's in performances at Carnegie Ha
Under the auspices of the Marilyn Home Foundation and NFMC, he has given professional recitals
California, Arizona, Michigan, South Carolina, Alabama, Louisiana, Missouri, Georgia, Florida, Tenru
see, Kentucky, Ohio, Indiana, and New York. Additionally, he has performed with the Houst
Symphony, the Dallas Symphony, the Cincinnati Symphony, the Louisville Orchestra, the Columb
Symphony, the Bridgeport Symphony, the Westchester Philharmonic, the Louisville Bach Society, ai
the Kentucky Symphony. Recent concert engagements have included Anchorage, Phoenix, Sioux Cii
I, and Caracas (Venezuela). On the operatic stage, Mr. Weeks has performed with the Kentucky Ope:
| Cincinnati Opera, Florentine Opera of Milwaukee, Austin Lyric Opera, Nevada Opera, and the Ope
Theater of Pittsburgh. In 2001, he toured the U.S. in 58 performances of Mozart's Cosifan tutte with S
Francisco Opera's Western Opera Theater. Upcoming engagements include an appearance with t
Louisville Bach Society. Mr. Weeks resides in LaGrange with his wife, Paige, and their sons, Garrett a
,,, Patrick.
i L
^ Naomi Oliphant, piano
l Pianist Naomi Oliphant has earned an international reputation as a soloist and chamber musician in t
l|U.S.A., Canada, and Europe. Her solo appearances include engagements with the Toronto Symphoi
Orchestra under Seiji Ozawa, the Louisville Orchestra, the Louisville Ballet, the Hamilton Philharmon
and the Niagara Symphony. Aired on radio and television in North America and Europe, she accept
an invitation to perform and lecture in 1998 at the 9th Suzuki Method International Conference in Japa
!U Since 1983, she has been pianist of The McHugh-Oliphant Duo, Duo-in-Residence at the University
IS Louisville. In addition to three European tours, they have played on such illustrious series as The Philli
jjl Collection in Washington and the Dame Myra Hess Memorial Concert Series in Chicago. Dr. Olipha
, 2 | was appointed Associate Dean of the University of Louisville School of Music in 1998 after servii
I thirteen years as Chair of the Keyboard/Vocal Performance Department. She was honored as the recipie:
2 ’of the university's Distinguished Teaching Award in 1994. Most recently, she has been responsible f<
coordinating an exchange program between the University of Louisville and the Karol Szymanowsi
Academy of Music in Katowice, Poland. She holds Bachelor and Master of Music degrees from tl
IS!University of Toronto, a D.M.A. from the University of Michigan, and the Master Teacher Certificate froi
8!MTNA. She received the 2003 Distinguished Service Award from the Kentucky Music Teache:
Association and the 1998 Woman of Achievement Award from the University of Louisville Busmess an
Professional Women.
"Why do men write poetry?
...to woo women!"
-Robin Williams in Dead Poet's Society
With tonight's recital, we celebrate women of inspiration. These women inspired poets to write poems,
then composers were further inspired to take these poems and set them to music. Whether these poems
of the women are presented in a single song, a set of songs, or in a song cycle, they express deep feelings
of praise and adoration. We hope you enjoy this journey through songs which praise women.
PROGRAM NOTES, TEXTS & TRANSLATIONS
Robert Herrick (1591-1674), was one of the foremost influential poets of the English language. A graduate of
King's College, Cambridge in 1620, he became the eldest of the "Sons of Ben," a group of young writers devoted
to the poems of Ben Jonson. In 1648 Herrick published his only volume of poetry which contained two titles:
Hesperides, for the secular poems, and Noble Numbers for the sacred subjects. This volume contained over fourteen
hundred poems with 62 of them featuring the woman, Julia. It is largely assumed that Julia was one of his many
mistresses, but regardless of who she really was, Robert Herrick held a special place for her in his heart. His Julia
poems range from demure expressions of chaste admiration to boldly erotic outpourings of sensual desire. Roger
Quilter selected six Julia poems for his song cycle To Julia. Quilter's romantic compositional style provides a
suitable match for the amorous expression of the poetry. The piano is given the duty of setting up the dramatic
moment for the singer through the prelude and the interlude. In these, the love themes of Julia are presented.
These themes show themselves throughout the cycle, sometimes interrupting an already established musical
moment in a particular song. The cycle is a journey through the love of Julia from its simple beginnings of the poet
placing a silken band around her wrist as a sign of dedication, to the exuberance of requited love as expressed
in the final song. Even in the final song, the initial theme of the prelude returns, thus bringing the singer and
audience back to the remembrance of the place where this love began.
TO JULIA
—Prelude—
THE BRACELET
Why I tie about thy wrist,
Julia, this my silken twist,
For what other reason is't
But to show thee how in part
Thou my pretty captive art?
■But thy bond-slave is my heart:
'Tis but silk that bindeth thee;
Knap the thread, and thou art free.
But 'tis otherwise with me:
I am bound, and fast bound so
That from thee I cannot go;
If I could I would not so.
THE MAIDEN BLUSH
So look the mornings when the sun
Paints them with fresh Vermillion:
So cherries blush, and Kathern pears,
And apricocks in youthful years;
So corals look more lovely red,
And rubies lately polished:
So purest diaper doth shine,
Stained by the beams of claret wine:
As Julia looks when she doth dress
Her either cheek with bashfulness.
TO DAISIES
Shut not so soon: the dull-eyed night
Has not as yet begun
To make a seizure on the light,
Or to seal up the sun.
No marigolds yet closed are,
No shadows great appear,
Nor doth the early shepherd's star
Shine like a spangle here.
Stay but till my Julia close
Her life-begetting eye;
And let the whole world then dispose
Itself to live or die.
THE NIGHT-PIECE
Her eyes the glow-worm lend thee,
The shooting stars attend thee;
And the elves also,
Whose little eyes glow
Like the sparks of fire, befriend thee.
No will-o'-the-wisp mislight thee,
No snake or slow-worm bite thee;
But on, on thy way
Not making a stay,
Since ghost there's none to affright thee.
Let not the dark thee cumber;
What though the moon doth slumber?
The stars of the night
Will lend thee their light,
Like tapers clear without number.
Then, Julia, let me woo thee,
Thus, thus to come unto me;
And when I shall meet
Thy silvery feet,
My soul I'll pour into thee.
JULIA'S HAIR
Dew sat on Julia's hair,
And spangled too,
Like leaves that laden are
With trembling dew;
Or glittered to my sight,
As when the beams
Have their reflected light
Danced by the streams.
—Interlude—
CHERRY-RIPE
"Cherry-ripe, ripe," I cry,
"Full and fair ones; come and buy."
If so be you ask me where
They do grow, I answer: "There,
Where my Julia's lips do smile;
There's the land, or cherry isle,
Whose plantations fully show
All the year where cherries grow."
The three songs by Gabriel Faure presented this evening are among his most famous. "Nell" and "Lydia" are
both settings of poems by Leconte de Lisle. "Sylvie" is a setting by Paul Choudens. The song "Lydia" is of
special significance because it demonstrates Faure's special affinity with the musical language of the medieval
church modes. The initial melody of the song, with its raised fourth scale degree, is used later by Faure as a
primary theme of his song cycle La bonne chanson.
NELL (Leconte de Lisle)
Your crimson rose in your clear sun, O June, glitters in exultation. Bring down to me your golden cup: my heart and your
rose are alike. From beneath the soft shelter of the shady leaves rises a sigh of sensuous delight. More than one dove sings
in the lonely wood its amorous lament, O my heart! How sweet is your pearl to the flaming sky, star of the pensive night!
But how much sweeter is the vivid light that shines in my enraptured heart! The singing sea, along the shore, will cease its
eternal murmuring, before, dear love, O Nell, your image will cease blooming in my heart!
LYDIA (Leconte de Lisle)
Lydia, on your rosy cheeks and on your neck so white and fresh, glitters and flow thefluid golden tresses which you unloosen.
This shining day is the best of all. Let us for get the eternal grave. Let your kisses, your dove-likekisses sing onyour blossoming
lips. A hidden lily spreads without end a divine fragrance in your breast. Numberless delights emanate from you, young
goddess. I love you and I die, oh my love. Kisses have carried away my soul. Oh Lydia, give me back my life that I may die,
forever die!
SYLVIE (Paul Choudens)
If you wish to know, my beautiful one, to where flies, straight as an arrow, the bird that sang in the young elm? I will tell
you, my beautiful one. It flies to the one who calls it. To the one who will love it! If you wish to know, by blonde one, why
on earth and on sea, at night all things come alive and pair off? I will tell you, my blonde one. There is an hour within the
universe where, far from daylight, love awakens! If you wish to know, Sylvia, why I am constantly distracted by your
sparkling and languid eyes ? I will tell you, Sylvia. Because without you in my life, everything in my heart is simply sorrow.
Frederick von Matthisson (1761-1831) was a poet who enjoyed considerable success in his lifetime. The great
poet, Friedrich von Schiller, was an ardent fan of Matthisson s poetry. However, much of his present-day
popularity is due to the setting of his poem "Adelaide" by Ludwig von Beethoven. Beethoven was a substantial
figure in music history, providing a link between the trends of Classicism and Romanticism in music. As evidence
of his genius, Beethoven significantly contributed to nearly every genre of the music of his day, and the realm
of art song was no less influenced by his compositions. His song cycle An die feme Geliebte is one of the earliest
examples of the genre and is still used as a pure example of the form. Also, his masterpiece, "Adelaide," is of
special significance because it shows the influence of Italian operatic trends and the ways they influenced the
vocal writing of early art song composers. Beethoven was a student of the famed operatic composer Antonio
Salieri, and even set several Metastasio texts as vocal composition assignments while a student. In "Adelaide,"
Beethoven presents the poem in a form closely related to a concert aria, or even a solo cantata. Beethoven also
takes liberties with the poem, expanding it in repetition to suit his musical needs. The name, Adelaide, is repeated
fourteen times in the song, as opposed to only four times in the original poem.
ADELAIDE (Matthisson)
Your lonely friend walks in the blooming garden, lightly bathed in a magical light that shines thru the swaying budded-
branches, Adelaide! Mirroredin thepool, in the Alpine snow, in the golden clouds of twilight, in the field of stars, thereshines
your image, Adelaide! Evening breezes whisper in the tender foliage, silver bells of May rustle in the grass, waves roar and
nightingales sing: Adelaide! Someday, oh miracle, there will bloom on my grave a flowerfrom the ashes of my heart, and there
will clearly glitter on each purple leaf: Adelaide!
PHIDYLE (Leconte de Lisle)
The grass is soft for slumbering beneath the cool poplar trees beside the slope of the mossy springs. In the flowering meadows,
sprouting by the thousands, they lose themselves among the dark thickness. Rest, oh Phidyle! Noonday on the leaves sparkles
and invites you to sleep! Among the clover and the thyme, alone in the full sunshine, the bees hum in their flight. A warm
perfume fills the air as the path turns. The red poppy is drooping, and the birds, grazing the hill with their wings, seek the
shade of the wild rosebushes. Rest, oh Phidyle! But, when the descending orb in its brilliant curve cools its smoldering heat,
let your loveliest smile and your most tender kiss reward me for waiting!
CACILIE (Heinrich Hart)
If only you knew what it is to dream of burning kisses, of wandering, of resting with your loved one, of gazing into each other's
eyes, and caressing, and murmuring, if you only knew it, you would allow your heart to consent. If you only knew what it
is to be afraid through lonely nights, assailed by storms, when the strife-weary soul is not soothed by gentle words, if you only
knew it, you would come to me. If you only knew what it is to live enveloped in the immense breath of divinity, to soar upwards,
raised and carried to sublime heights, if you only knew this, you would live with me!
TO JULIET (Alfred Lord Tennyson)
Sainted Juliet! Dearest name! If to love be life alone, Divinest Juliet, I love thee, and live; and yet Love unreturned is like
the fragrant flame folding the slaughter of the sacrifice Offered to gods upon the altar-throne; My heart is lighted at thine
eyes, Changed into fire, and blown about with sighs. Divinest Juliet!
TO CLORIS (Sir Charles Sedley)
Cloris, I cannot say your eyes Did my unwary heart surprise; Nor will I swear it was your face, Your shape, or any nameless
grace: For you are so entirely fair, To love a part, injustice were; No drowning man can know which drop Of water his last
breath did stop; So when the stars in heaven appear, And join to make the night look clear; The light we no one's bounty call,
But the obliging gift of all. Cloris, I cannot say your eyes Did my unwary heart surprise; He that doth lips or hands adore,
Deserves them only and nothing more; But I love all, and every part, And nothing less can ease my heart. Cupid, that lover,
weakly strikes, Who can express what 'tis he likes.
DIAFHENIA (Henry Constable)
Diaphenia, like the daffa-down-dilly, White as the sun, fair as the lily, Heigh ho, how I do love thee! I do love thee as my lambs
are beloved of their dams; How blest were I if thou would'st prove me. Diaphenia, like the spreading roses, That in thy sweets
all sweets encloses, Fair sweet, how I do love thee! I do love the as each flower loves the sun's life-giving power, For dead
thy breath to life might move me. Diaphenia, like to all things blessed When all thy praises are expressed - Dear joy, how I
do love thee! As the birds do love the spring, Or the bees their careful king: Then in requite, sweet virgin, love me!
Francesco Petrarch (1307-1374), the inventor of the modem sonnet, is considered one of the founding fathers of
the Italian Renaissance. Bom in Arezzo, he spent his early childhood in the village of Incisa, near Florence, and
later, his family settled in the region of Avignon. In 1327, he saw a woman named Laura in the church of Sainte-
Claire d'Avignon who inspired him to write his Rime Sparse, or "Scattered Rhymes." Later generations of poets
wishing to imitate his style called this collection of 366 poems the Canzoniere, or "The Song Book." The passion
poured out for Laura in these poems reflects a lifelong emotion. Her actual identity is unknown, but Petrarch's
Laura may well have been Laure de Noves, the wife of Hugues de Sade, and an ancestor of the Marquis de Sade.
It is speculated by some historians that she was an entirely fictional character, although Petrarch himself denied
this. Whatever the case, Laura's essence and his unrequited love for her caused him both unspeakable joy and
torturous desires. He later wrote that Laura refused him because of the simple fact that she was already married
to another man. After her death in 1348, Petrarch wrote,
"In my younger days I struggled constantly with an overwhelming but pure love affair - my only
one, and I would have struggled with it longer had not premature death, bitter but salutary for me,
extinguished the cooling flames. I certainly wish I could say that I have always been entirely free
from desires of the flesh, but I would be lying if I did."
Franz Liszt, the piano virtuoso and gifted composer found inspiration from Petrarch's sonnets 47,104, and 123.
He first set these three sonnets for high voice and piano in a style reminiscent of the bel canto Italian operatic scena.
Later, these settings became a source of inspiration to him in solo piano transcriptions published as part of the
suite Annees de Pelerinage.
PACE NON TROVO
Ifind no peace and I make no warfare; I fear and I hope, I burn and Ifreeze. I fly above the heavens, yet I lie upon the earth.
I hold nothing, yet I embrace the entire world. She has me in a prison which is neither closed nor open. She does not want
to keep me for herself, yet she will not let me go. Love does not kill me, yet refuses to remove my chains. It does not want
me alive, but will not free me from my troubles. Without eyes I see, and without a tongue I cry out. I want to die, yet I ask
for help. I hate myself, yet I love others. I feed on grief, and weep while laughing. Neither life nor death appeals to me. I
am in this state because of you, lady. Because of you, Laura.
BENEDETTO SIA 'L GIORNO
Blessed be the day, the month, the year, the season, the time, the very moment of the hour, the loveliest landscape, and the
place where I first encountered those two lovely eyes which have bound me; And blessed be thefirst sweet breathlessness when
I was first caught by love. Blessed be the bow and the darts that pierced my very heart, and all the wounds struck there by
Love. Blessed be the words I scattered whenever I invoked my lady's name, and blessed be my sighs, my passion, my shed
tears, and all those sonnets through which I bring her renown, and my thoughts, which are exclusively of her, that no other
woman has a part in them.
I' VIDI IN TERRA ANGELICI COSTUMI
I saw on earth angelic qualities, celestial beauties unmatched in the entire world. So much so that to recall them brings o
joy and pain. All else I view as a haze, dreams and shadows. I saw tears in those two lovely eyes, which would make t e sun
a thousand times envious. I heard words uttered with sighs that would make mountains move and rivers stand sti . ove,
wisdom, valor, mercy, and grief all made a harmony sweeter as they wept than any that the world has ever heard. An
was so intent on their harmony that no leaf stirred in the trees. Such a great and profound sweetness filled the air an e
breeze.
Upcoming Events at the School of Music
(All events are admission free and field in Margaret Comstock Concert Hall,
unless otherwise noted. Events are subject to change.)
Friday. lanuarv 20 - 7:00 p.m.
Graduate Recital: Rebecca Johnson, flute. Works by J. S. Bach, Alfredo Casella, Ian Clarke, Thea Musgrave, and
Cesar Franck.
Sunday, lanuarv 22 - 3:00 p.m.
Speed Series: Pavel Sporcl, violin. This artist, hailed for his blending of perfect playing technique with
exquisite tone, believes that "classical music is not an ossified art form reserved for a narrow elite group, but a living
creative universe accessible to everyone." Free for Speed Art Museum members; $10 general admission tickets
available at the door. Free pre-concert lecture at 2:00 p.m. in Malcolm Bird Recital Hall.
Sunday, lanuarv 22 - 7:30 p.m.
5th Annual University Brass Spectacular Benefit Concert. This event will feature the Louisville Brass faculty
quintet, alumni performers, outstanding students, and other fabulous professional players in large brass compo¬
sitions by Haufrecht, Wagner, and others. Proceeds from the concert will help supplement music scholarships for
students. Tickets are $ 10 for adults, $5 for seniors, and free for students. For more information contact the School
of Music office at 502-852-6907 or the concert hotline at 502-852-0524.
Tuesday, lanuarv 24 - 8:00 p.m.
University Jazz Combos ( Malcolm Bird Recital Hall )
Thursday, lanuarv 26 - 8:00 p.m.
Ceruti Chamber Players. The program will include ensemble works by Kahn, Destenay, and Hummel.
Friday, lanuarv 27 - 8:00 p.m.
Faculty Artist: Bruce Heim, horn, with Meme Tunnell, piano ( Malcolm Bird Recital Hall). This program will feature
a performance of the four horn concertos of Wolfgang Amadeus Mozart, in honor of the 250th anniversary of his birth.
Saturday. lanuarv 28 - 7:30 p.m.
University Wind Symphony and Invitational Honor Bands
Sunday, lanuarv 29 - 7:30 p.m.
African American Music Heritage Institute: Kathy Wade, vocals, with the Khalid Moss Quartet. Admission is
$5, payable at the door. Call 502-852-6972 for more information.
Monday, lanuarv 30 - 8:00 p.m.
Jamey Aebersold Quartet, jazz ( Malcolm Bird Recital Hall )
Tuesday. lanuarv 31 - 8:00 n m
University Symphony Orchestra with guest conductor Joseph Rescigno
Wednesday. February 1 - 8:00 p.m.
Guest Artist: Katie McLin, violin (Malcolm Bird Recital Hall )
Friday, February 3 - 8:00 p.m.
Guest Artist: Christa Rakich, organ. The program will feature Sonata in Sea (2003) by James Woodman and a
variety of sacred pieces by Johanna Senfter, in addition to works by J. S. Bach and Johannes Brahms.
U of L Music Concert Line
PH: 502-852-0524
music.louisville.edu
m&'music
IMVERSITYof I OUISVTLLE
dare to be great
presents
Rebecca Johnson,
flute and piccolo
student of Kathleen Karr
with
Cara Chowning, piano
Graduate Recital
Friday Evening
January 20, 2006
7:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonata in E Minor, BWV 1034
Adagio ma non tanto
Allegro
Andante
Allegro
Sicilienne et Burlesque
Zoom Tube
for solo flute
Piccolo Play
I. L'Enchanteresse
II. L'Amphibie
HI. La Pateline
IV. Les Papillons
V. Le Re veil-matin
VI. Le Bruit de Guerre
VII. Le Turbulent
INTERMISSION
J. S. Bach
(1685-1750)
Alfredo Casella
(1887-1947)
Ian Clarke
(b. 1964)
Thea Musgrave
(b. 1928)
Sonata
in A Major
Cesar Franck
1 .
Allegretto ben moderato
(1822-1890)
2.
Allegro
3.
Recitativo-Fantasia
4. Allegretto poco mosso
This recital is given in partial fulfillment of the requirements
for the Master of Music degree.
PROGRAM NOTES
Sonata in E Minor, BWV1034
J. S. Bach
The Sonata in E Minor is one of six sonatas for flute and continuo that
J. S. Bach wrote in the early 18th century. Many of his sonatas were
probably written after 1724, when he was living in Leipzig, but this
sonata was most likely written before 1724, while he was still in
Cothen. It utilizes an older style than many of his other flute
sonatas, with a traditional continuo part rather than a keyboard
obbligato. The flute dominates the sonata, and Bach uses small
snippets of thematic material to tie it to the continuo part. This
contrasts with his later sonatas in which the right hand of the
harpsichord part was written in counterpoint with the flute line,
creating what is in effect a trio sonata for flute, one hand of the
keyboard, and continuo. For one last indication of an older style,
this sonata is in a four-movement structure, whereas many of
Bach's later works for flute have only three movements.
The first two movements of the sonata have nearly continuous flute
parts, and can serve as show pieces for the instrument. The flute
line of the third movement may be one of the loveliest melodies that
Bach wrote. Accompanied by an eighth-note bass line that
continues for the entire movement, the flute soars across the top.
The fourth movement is in binary form with florid lines and greater
interaction between flute and continuo than in previous movements.
SlCILIENNE ET BURLESQUE ALFREDO CASELLA
Alfredo Casella was an Italian composer who was actively compos¬
ing in the first half of the 20th century. Gabriel Faure was one of his
early influences, though Casella later became heavily involved with
the promoting of modem music. He hoped to bring the music of
his contemporaries, such as Stravinsky and Schoenberg, to Italy.
His Sicilienne et Burlesque is from 1923, during a time when Casella
was actively fighting for the modernization of Italian music. This
activism, however, did not translate directly into "modem" music
for Casella himself. Though he developed an eclectic style as a result
of his interaction with the works of his contemporaries, the style of
this Sicilienneet Burlesque, from what musicologists consider Casella's
late period, does not strike the listener as avant-garde or particularly
academic in form. Though quite chromatic from one section to the
next, Casella chooses to maintain tonal areas for at least each phrase
or measure, allowing for some sense of aural stability. It does not
seem particularly dissonant, even as it winds through the tonal
spectrum and leaves the performers with large quantities of
accidentals to read. The piece served its purpose as a French
conservatory test piece, providing technical and musical chal¬
lenges. The result of all these aspects is a piece that is enjoyable for
an audience while showing off the range as well as the expressive
and technical capabilities of the flute.
Zoom Tube for solo flute Ian Clarke
Ian Clarke is a British flutist and composer who constantly pushes
the boundaries of classical music through his compositions. He has
written pieces for all levels of flute playing, which can help intro¬
duce extended techniques to young students.
Zoom Tube, the composer comments, was influenced by many
sources, from rhythm & blues to Bobby McFerrin, Stockhausen,
and Ian Andersen, and most of the ideas for the piece were
generated through improvisation. Clarke writes,
"The extended techniques and hence palette of colors was
very much a means to an end rather than just an end in itself.
Amongst other things I wanted the flute to groove, much as
a rhythm guitarist might, so chords (multiphonics) and
damping techniques were necessary. When the human
voice is used to groove an array of percussive vocalizations
are employed to imitate a drum kit or used as interjections
to further rhythmic suggestion."
Many of the "notes" in Zoom Tube are actually syllables vocalized
over the background of a fingering on the flute: effects rather than
pitches. These are indicated in the score by "shadow-notes." Also
included are a plethora of quarter-tone pitches, opportunities to
sing and play simultaneously, and one "Jet Whistle." Zoom Tube
will help to expand perceptions of what is possible on the flute.
Piccolo Play: In Homage to Couperin Thea Musgrave
Thea Musgrave is a living Scottish composer. She has experi¬
mented with the major trends in music that have been popular
throughout her life, from serialism to electronic music. Piccolo Play
is for traditional instruments, piccolo and piano, and carries a sub¬
title, "In Homage to Couperin." About the piece Musgrave writes,
"The titles of the movements of Piccolo Play are all taken
from harpsichord pieces of Couperin. In each movement,
the piccolo is the protagonist of the title and the piano
provides the 'setting' or background. Thus, in L'Amphibie
the piano represents the pool on which the frog leaps from
leaf to leaf, disturbing the water as he goes. In Le Reveil-
matin the piano is the one who sleeps and the piccolo is the
alarm clock who forces him to wake. In La Pateline (the
wheedler), the piccolo is softly insistent, but ultimately
becomes angry as his pleas are disregarded. Le Bruit de
Guerre was suggested by Manet's The Fifer. Here both
instruments play march music with the piano also suggest¬
ing the bass drum and the snare drum accompaniment.
The combination of different marches becomes increas¬
ingly anarchic and innocence is overwhelmed. The end is
silence with distant echoes of the Dies Irae."
Of the other movements not mentioned in Musgrave's preface to
the piece, the titles are also appropriately descriptive. The first
movement, L'Enchanter esse, represents a seductive enchantress
within her "lair." The fourth movement, Les Papillons, shows the
world of butterflies, seemingly ignorant of the world around them
except for accidental encounters now and then about which the
butterfly immediately forgets. The final movement, Le Turbulent,
portrays a windstorm with considerable unrest—for most of the
movement the piccolo and the piano are playing cross rhythms to
each other, perhaps fighting for control over the situation.
Sonata in A Major for Flute and Piano C6sar Franck
Cesar Franck was a Belgian organist, composer, and teacher of the
Romantic Era who was considered the founder of modem French
chamber music. Though he was perhaps more adept in the world
of improvising and performing than with composition, he wrote
several works that have become standards in the modem repertoire.
These works include a Piano Quintet in F Minor (1879), a String
Quartet in D Major (1889), and this sonata, originally written for
violin, from 1886.
Almost immediately after the Violin Sonata was completed, it was
transcribed for cello. A copy of the transcription signed by the
composer has been taken as tacit acknowledgement that this
version was also acceptable. In the mid-20th century the sonata was
also adopted by flutists to fill a gap in the instrument's repertoire—
there is very little serious Romantic-era (c. 1830-1900) chamber
music for flute. The flute as an instrument has changed since the
late 19th-century and has become more capable of producing the
kind of power that Franck required of string players.
Inspired by the method of thematic transformation employed by
contemporaries such as Wagner and Liszt, Franck's major works
utilize a cyclical method of writing, in which themes recur either
identically or having been transformed in two or more movements.
This entire sonata seems to have been pulled organically out of the
opening intervals in the first movement. There are a few short
motifs that contain the basis for the thematic development
throughout the four-movement work. But because the themes are
transformed throughout and appear in the context of different
harmonies, the work is able to seem fresh but unified.
This four-movement sonata is one of Franck's few works that is not
in three movements. In a way, however, the first movement of the
violin sonata seems to be an introduction for a three-movement
work (introduction, fast, slow, fast). This slow, contemplative
movement provides thematic material that will be transformed
throughout the rest of the sonata. The second movement is broad
in style and passionate, with passages that create serious challenges
for the performers. The third movement, titled "Recitativo-
Fantasia," is truly free in form. Near the end of movement a quiet
statement of a new theme introduces what will be a climactic
trumpet call near the end of the finale. The main theme of the finale
is derived from the first movement and is treated canonically
throughout, with the flute and the piano alternating who leads and
who follows. Themes from the entire work appear in the finale and
may be only a shadow of the original idea in the finale, as many of
them have been transformed along the way.
HATTIE BISHOP SPEED ENDOWED CONCERT SERIES
. *
The Speed is pleased to present another exciting HATTIE BISHOP SPEED ENDOWED
CONCERT SERIES. Don’t miss the remaining recitals, which will feature an array of
classical music from diverse performers, all making their Louisville debut.
Pavel Spore!
Sunday, January 22, 2006, 3 PM
Comstock Hall, University of Louisville School of Music
This young violinist receives rave reviews for his blending of perfect playing technique
with exquisite tone. Having studied with legendary Eduard Schmieder, Dorthy DeLay,
Itzhak Perlman, and Masao Kawasaki, Sporcl believes "that classical music is. . •
a living creative universe accessible to everyone."
INIVERSIIYof I DLJISVILLE ,
dare to be great
presents
University
Brass
Spectacular
Sunday Evening
January 22, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School ofMusicbuilding. In the unlikely event of fire or other
emergency, please walk to Ihenearest exit.The useofrecordingdezncesnnd flash photography is
strictly prohibited. Pleasesilence ceil phones, electronic watotesand pagers. Thankyou
PROGRAM
Heralding (1981) Ronald LoPresti
(1933-1985)
University Trumpet Ensemble
Michael Tunnell, director
Ryan McCaslin, soloist
Variations on a Five-Note Theme
I. Theme
II. Scherzo
III. Canon
IV. Mythical Procession
V. Finale
University Horn Ensemble
Bruce Heim, director
Fanfare for 'CALA' Eric Crees
University Trombone Ensemble
Brett Shuster, director
Frederick Speck, guest conductor
Benediction John Stevens
(b. 1951)
The Green Room Tuba Quartet
Daniel Stull, euphonium Aaron Gaither, tuba
Matt Byrum, euphonium Doug Meece, tuba
JohnJones, advisor
High Society Don Swan - Allan Copeland - Mort Greene
arr. Luther Henderson
The Brass Company
Reese Land, trumpet Fred Wiliams, horn
Lorenzo Trujillo, trumpet Art Fuerte, trombone
John Dorn, tuba
Russell Garcia
(b. 1916)
Flying Boy
Soaring
Americana Suite
Bossa Nova
Steve Rouse
(b. 1953)
Enrique Crespo
(b. 1941)
LouisvilleBrass
Michael Tunnell, trumpet Bruce Heim, horn
Herbert Koerselman, trumpet Brett Shuster, trombone
John Jones, tuba
INTERMISSION
Sonata XIX . Giovanni Gabrieli
(1556-1612)
arr. Reese Land
Symphony for Brass and Timpani Herbert Haufrecht
Dona Nobis Pacem (1909-1998)
Elegy
Jubilation
Overture to Rienzi Richard Wagner
(1813-1883)
arr. Arthur Frackenpohl
Jazzalogue Joseph Turrin
(b. 1947)
Louisville Brass and Friends
Frederick Speck, guest conductor
Additional Performers
Fabio Brum, Matt Byrne, Matt Janssen & Ryan McCaslin, trumpets
Andrey Astazia, Dominic Rotella & Lindsay Pummell, horns
Ian Carroll & Anastasi Fafalios, trombones
Daryl Johnson, tuba
Matt Greenwood & Whitney Winstead, percussion
University Trumpet Ensemble
Michael Tunnell, director
Gabrielle Brown
Kevin Byrne
Charles Calloway
Ryan Carpenter
Andrew Chastain
Jaephus Craig
Brian Glass
Matt Janssen
Don Johnson
Marshall Kaufman
Ryan McCaslin
Melissa McDaniel
Patrick McGinthy
Ryan Nottingham
Todd Obidowski
Zachary Schell
Jesse Schuler
Michael Swope
Steven Trentham
Joel Watson
Daniel Whaley
Amy Working
University Horn Ensemble
Bruce Heim, director
Kate Reyman
Nickie Lewis
Colin Dorman
Autumn Pate
Lindsay Pummell
Dominic Rotella
Leah Simer
Jessica Niedwick
Sara Poe
Stephanie Radcliffe
Matt Peyton
Miranda Polzer
University Trombone Ensemble
Brett Shuster, director
Alto Trombone
Audrey Davis Brett Shuster *
Tenor Trombone
David Bretz Ryan Doughty
Ian Carroll Krista Eifler
Allison Cross Sarah Finger
Michael Dempsey Aaron Stepp
Brent Crimm Matt Yarborough
Bass Trombone
Evan Bullock Matt Hubbard
Anastasi Fafalios Art Fuerte t
* faculty artist
t guest artist
School of
music
IMVERSITYqf IDUISVIL1E.
""" --
dare to he great
presents
University Jazz
Combos
Chris Fitzgerald, Jerry Tolson,
Jason Foureman & Brian Koning,
directors
Tuesday Evening
January 24, 2006
8:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, ELEcmoNic watches and pagers. Thank you.
PROGRAM
"Ray Brown" Combo
Jason Foureman & Brian Koning, directors
HI Remember April Don Raye, Gene DePaul,
Patricia Johnson
Just Friends John Klenner
Brent Hall, trumpet
David Whiteman, alto saxophone
Jake Stith, guitar
Anthony Ransom, piano
Will Roberts, bass
John Alvey, drums
"Ron Carter" Combo
Jerry Tolson, director
Morgan the Pirate Lee Morgan
(1938-1972)
Turnpike J. J. Johnson
(1924-2001)
Brent Hall, trumpet
Jacob Goran, tenor saxophone
Justin Homback, piano
Natalie Boeyink, bass
Evan Pauchak, drums
"Oscar Pettiford" Combo
Chris Fitzgerald, director
Speak Low
Morning Hymn
Take the Coltrane
Alexis Marsh, alto saxophone
Brian Koning, trumpet
Matt Yarborough, trombone
Sam Farley, piano
Jason Foureman, bass
Dan Dorff, drums
Kurt Weill
Dan Dorff
Duke Ellington
School of •
music
IMVERSHYqf IDULSVILLE.
** ' ~ --
dare to be great
presents
John S. Moore,
tenor saxophone
with
Krista Wallace-Boaz, piano
and
Scott F. Moore, violin
Faculty Recital
Wednesday Evening
January 24, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this evening.
Smoking is not permitted in the School of Music building.
In the unlikely event of fire or other emergency, please walk to the nearest exi t.
The use of recording devices and flash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
PROGRAM
Sonata posthume (1897)
Duo (2006)
WORLD PREMIERE
Divergence (1988)
Der Holle Nachklang I (1992)
INTERMISSION
Jephthah (1958)
Invocation and Dance
INTEGRAIS IV (1987)
Le Grand Tango (1982)
Maurice Ravel
(1875-1937)
trans. Moore
Walter S. Hartley
(b. 1927)
Brian Burkett
(b. 1961)
Dimitri Terzakis
(b. 1938)
Carl Anton Wirth
(1912-1986)
trans. Moore
Joao Olivera
(b. 1959)
AstorPiazzolla
(1921-1992)
trans. Moore
music
UNIVERSITY of IOUISVILLE
dare to be great
presents
Patrick Ian Carroll,
trombone
with the members of
Century of Aeroplanes
Thursday Evening
January 25, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this evening.
Smoking is not permitted in the School of Music building.
In the unlikely event of fire or other emergency, please walk to the nearest exit.
The use of recording devices and flash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
PROGRAM
CERAKAk
Keren
For Richard Nunns
fade and shoot
Garrotte
INTERMISSION
Iannis Xenakis
(1922-2001)
Ian Carroll
(b. 1982)
Vinny Golia
(b. 1946)
Ian Carroll
(b. 1982)
Selections from the Century of Aeroplanes Songbook
PROGRAM NOTES
Program notes by Ian Carroll
Keren
Composed by Iannis Xenakis, one of the most original and systemati¬
cal composers of the twentieth century, Keren is a multifaceted tour de force for
the trombone. Written for Benny Sluchin, a famous solo trombonist noted for
his work with contemporary composers and his impeccable technique, this
virtuosic solo was premiered a little over two decades ago. Since then, it has
become one of the many pieces held in high regard for its virtuosity as well as
its powerful energy.
Xenakis was recognized for his concept of meta-art (the theory that an
artistic expression can be realized mathematically in any artistic medium).
Originally a skilled and creative architect, he began to combine his efforts as
a mathematician, architect, and composer around 1958. Many of his composi¬
tions, which were often electronic music, were created with stochastic math¬
ematical processes such as Gaussian distribution, Markov chains. Brownian
motion, game theory, and group theory.
Keren, which means "horn" in Hebrew, is based upon the Jewish ram's
horn which is used in several different religious services. The Bible mentions
the three basic sounds that a shofar produces: the tekiah, teruah, and the
sheravim. The tekiah is described as a plain, deep sound ending abruptly; the
teruah, a trill between two tekiahs. Many are in doubt as to what the teruah
should really sound like. Some say it is actually a low, moaning sound while
others believe it is a short staccato sound. Some believe it should also be nine
short beats, divided into three disconnected groupings. The sheravim is
described as being composed of three short sounds. In the duration of a "shofar
blowing, one may play a succession of 101 notes; tekiah, shevarim-teruah, tekiah;
tekiah, shevarim, tekiah; tekiah, teruah, and then a final blast of "tekiah gadola" which
means big tekiah, held as long as possible. This formula is repeated twice
more, making thirty sounds for the series, with tekiah being one note, shevarium
t ee, and teruah nine. This series of thirty sounds is repeated twice more,
ma mg ninety sounds in all. The trebling of the series is based on the mention
o terua three times in connection with the seventh month (Lev. xxiii, xxv; Num.
xxix, an a so on the above-mentioned division of the service into malchiyot,
n f l ™ • S ° j r0t ' Edition to these three repetitions, a single formula
AcmrdinTJ ** Cl ° Se ° f ** service ' makin § a total.of 100 sounds,
ine to the 100 crip^ mL K tra ^ ltion ' a blasts are sounded, correspond-
make it home after°h ■ G motker of — era > t h e Cannanite general who did not
^ is by the bibli “‘ Y «> (Judges 5:28). One
cry left to symbolize the legttimate love ot a mother mourning her son.
For Richard Nunns
This work is inspired by a New Zealand musician for which the work is
titled. Richard Nunns began as a jazz trumpet player who quickly moved away
from his work with jazz and refocused all of his efforts on the study of traditional
Maori music and instruments. He has gained his knowledge from interviewing
and sometimes living with the Maori people. He has since collected hundreds
of instruments he has found, collected, or had made for him which he brings with
him where ever he goes, however, the United States customs bans whale, dog,
and human bones to be brought into the country and many of Richard's
instruments are made with such material.
In Maori tradition, all instruments are viewed as having its own spirit
through which the musician uses to communicate with God. Each instrument
also has its own purpose that is played for specific times of the year or for specific
activities. The Maori people do not "perform" their music for each other, they
channel God through the instrument guided by the spirit of the instrument. A
Maori musician might not be called a musician, but rather a shaman.
PUTATARA
The first movement is based upon the conch shell trumpet called the putatara.
This "trumpet," which is considered male, is used for the beginning of many
things, such as a call to arms for the beginning of a successful battle or the
beginning of the new year. This movement calls to mind the images of the ocean
and water, and has a fanfare constructed of wide intervals.
Tumutumu
This movement is inspired by the tumutumu (female); a whale bone that is
played with a thin wooden mallet. The instrument is used in the "House of
Learning," usually played alone in a cave. Whale bone is struck across the teeth,
reminiscent of a calf's jaw bone. As is common with most Maori instruments,
every part of the instrument is played - even the mallet. One end of the mallet
is held on the corner of the mouth, using the mouth as a resonator is plucked,
sounding somewhat like a jaw harp.
Pukaea
The pukaea (male), for which this middle movement is inspired, is a wooden
trumpet with three finger holes. This instrument is used to announce the start
of the sweet potato season, one of the main staples of the Maori diet. The sweet
potato is regarded as the food of life for the indigenous peoples of New Zealand.
Putorino
The putorino is an interesting instrument of the Maoris. This instrument is a
double-barrel flute on one side, a trumpet on the other end, and can be played
like a flute by blowing across the middle key hole. It is also traditional for the
musician to use the instrument as a conduit for the voice. This instrument is both
male and female, as well as having the qualities of a third entity of no gender.
Koauau
The last movement is inspired by the koauau (male and female). The koauau
is one of the most special of all the Maori instruments. The instrument is a long
flute-like instrument that is in the shape of a woman (or sometimes a man) with
a key hole in place of the navel. The purpose for the koauau is for child
development. In the Maori culture, it is believed that the koauau, when played
into the child's soft spot (or the fontanelle), would channel God with the help of
the koauau spirit and aid in the mental and spiritual development of the newly
born child.
FADEAND SHOOT
For the past three months, I have been studying improvisation and
composition with Vinny Golia, the composer of this unaccompanied solo.
Vinny's compositions show many influences, from Eric Dolphy and Frank Zappa
to Igor Stravinsky and Edgar Varese. At times, his work exudes a sort of non-
idiomatic style that seems to tremble with grace. At other times, his work can
shuffle along in a jumbled jigsaw of ecstasy where the pieces charmingly don't
fit quite right.
fade and shoot is an unaccompanied solo for trombone that demonstrates
many different colors of the trombone through the extensive use of mutes and
such extended techniques as the "whistle tone." The work begins with a rubato
statement that mysteriously comes in but immediately takes off in a wide
intervallic fanfare. The statement ends wildly in a flourish of exclamation.
Immediately thereafter, the theatrical statement and the brash tone are
hushed by an almost silent melody. The work then takes the beginning
statement and deconstructs it; breaking it apart bit by bit. Intervals are
expanded to their breaking point and then instantly crushed and compacted.
Chromatic contours slowly flex and quickly fly apart in wide intervals only to stop
unexpectedly. Towards the end of the work, parts of the opening statement
come back into focus, hinting that the ending is near. Finally, the work ends with
a restatement of the introduction, but this time is interrupted in the middle by
an unanticipated silence that compels the statement to fold in on itself. The
melody unfurls itself to try to finish again, only to break off suddenly, however,
1S t * I Tu *^ ie melody comes right back end to suggest the real ending is coming
fades a 6 W ° r ^ 6ndS * n a thunderous fanfare, hanging on the last note that slowly
Garrote
This work is an improvisation based on the story of a Czechoslovakian
bass player, Frantisek Kotzwara. Frantisek was one of the first contrabass
soloists in eighteenth century Europe. He traveled from town to town, sleeping
in the homes of generous people. He was celebrated for his incredible
technique, but notorious for his peculiar and perverse compulsions.
Patrick Ian Carroll
Bom into a musical family, Ian (b.1982) showed a talent for the arts at an early
age. It wasn't until the age of eleven that Ian decided to play trombone. During
his high school years, Ian studied with Christopher Hayes, a renowned classical
trombonist. With Chris, Ian worked on improvisation, classical literature, and
composition. This was also the formative years of Ian's style of playing and
performing as it is today.
"When I was younger, I could remember my family always
listening to things like Paul Simon's Graceland, or some Van
Morrison. My mom was either singing, playing the piano, or
playing the flute, and my dad exposed me to a variety of music
at an early age. When I was in high school, my dad played me
a tape of Miles Davis' Get Up With It. I remember thinking,
that's it. I've found it...This is music. Visceral, primitive, yet
beautiful. It was all over for me. I went through all my dad's
records and made copies of them on tapes so I could listen to
them at all school...everything from Anthony Braxton, Albert
Ayler, Mingus, and Coltrane, to John Cage, Ives, and Anton
Webern. It was a real breakthrough for me."
Ian went on to work with Dr. Brett Shuster of the University of Louisville where
he was trained as a soloist and orchestral musician. Dr. Shuster inspired Ian
to study the most complex and difficult literature for trombone as well as
developing a wide array of extended techniques on trombone. Ian continues
with his studies at the California Institute of the Arts in Valencia, California.
While at CalArts, Ian is studying closely with some of the most important
musicians of our time, such as Vinny Golia, Wadada Leo Smith, Susie Allen, as
well as trombonists Jim Miller of the Los Angeles Philharmonic and Alex Isles.
Ian holds a Bachelor's Degree in Music Performance from the University of
Louisville and is currently obtaining his Master's degree in Fine Arts at the
California Institute of the Arts. Ian has performed and recorded with many
musicians, artists, and ensembles on radio, television, and webcasts, and
performed throughout the United States. He has studied and performed in
many different genres and styles, such as classical, jazz, latin jazz, flamenco,
and free improvisation. Ian is known for his wild, energetic improvisations.
Having studied extended techniques considerably, Ian is able to create a
myriad of sounds and use them comfortably in his improvisations. Ian is
currently involved with professional and recording groups such as the ambient,
experimental group Century of Aeroplanes, the avant-garde rock band Tin
Horn Justice, and currently has several groups in the works. Ian currently lives
in Calabasas, California.
B
E
Thursday, January 26,2006
8:00 p.m.
Comstock Concert Hall
University of Louisville School of Music
Grace Baugh-Bennett, piano
Robert Docs, double bass
Donald Gottlieb, flute
Bruce Heim, horn
Trevor Johnson, oboe
Andrea Levine, clarinet
Allison Braid Olson, cello
Marcus Ratzenboeck, violin
Michael Tunnell, trumpet
PROGRAM
Serenade in F Minor, Op. 73
Robert Kahn
(1865-1951)
Trevor Johnson, oboe
Bruce Heim, horn
Grace Baugh-Bennett,/?/hno
Trio in B Minor, Op. 27 Edouard Destenay
(1850-1924)
Allegro vivace
Andante non troppo
Presto
Trevor Johnson, oboe
Andrea Levine, clarinet
Grace Baugh-Bennett, piano
INTERMISSION
Septet in C Major, Op. 114 ("Military") Johann Nepomuk Hummel
(1778-1837)
Allegro con brio
Adagio
Menuetto: Allegro
Finale: Vivace
Donald Gottlieb,yZwte
Andrea Levine, clarinet
Michael Tunnell, trumpet
Marcus Ratzenboeck, violin
Allison Braid Olson, cello
Robert Docs, double bass
Grace Baugh-Bennett,
Robert Kahn was bom in Mannheim, Germany, in 1865. He received his
early musical training at the Berlin Musikhochschule (1882-1885) and con¬
tinued at the Munich Academy of Music (1885-1886). He met Brahms
during a short visit to Vienna in 1887 and was also friendly with the violinist
Joseph Joachim. Brahms offered for the young composer to study with
him, but Kahn reputedly declined the offer out of shyness. After serving in
the military for a short period, Kahn settled in Berlin. From 1890-1893 he
served as rehearsal conductor for the Leipzig Stadttheater. In 1894 Kahn
was appointed to the Berlin Musikhochschule where he taught piano and
music theory until the Nazi regime caused him to be removed from office in
1930 due to his Jewish origins. Kahn emigrated to England in 1937, settling
in Biddenden, Kent, where he died in 1951.
Kahn’s musical orientation leans heavily toward Schumann, Mendelssohn,
and Brahms, with some influence of Reger. He wrote works in all genres,
but he is best known for his chamber music and lieder. The piano quartets,
violin sonata, and string quartet are particularly noted as outstanding works.
Serenade for Oboe, Horn, and Piano, Op. 73, was published in 1923.
Brahms’ influence can be seen in the textures of the piano part, the prepon¬
derance of 6/4 time, frequently overlaid by cross-rhythms, and the smooth
interplay among the three instruments. Serenade is a single movement,
written in two large sections. The work begins in a sober Andante sostenuto
in F minor with a brisk Vivace as a contrasting trio section. The andante
segues into an Allegretto non troppo e grazioso in F major with a faster
central section in D Major. A brief reminiscence of the andante theme
precedes a brilliant vivace closing.
Edouard Bertrand Louis Destenay was bom in 1850 in Algeria, later mov¬
ing to Paris. Very limited information is available about his early training
and professional life. We do know that he studied music with Claudius
Blanc in Paris. According to one website, Destenay was a Knight of the
“Legion d’Honneur” and a Committee member of the French musicians.
His compositions seem to have been primarily orchestral or for strings and
keyboard instruments. The aforementioned website also states that
Destenay’s Romantic Symphony for piano and orchestra was performed
many times in Paris. Trio in B Minor, Op. 27, is dedicated to Bleuzet
(oboe teacher at the Paris Conservatory) and Stiewenard (clarinet teacher
at Lamoureux). The three-movement work, composed around 1906, is
characterized by great verve, with some Mendelssohnian tendencies. The
first movement is in sonata-allegro form, followed by a lyrical second move¬
ment. The third movement closes the piece in jaunty rollicking fashion.
Johann Nepomuk Hummel was well-known during his lifetime as both vir¬
tuoso pianist and composer. His musical education included studies with
Mozart and Haydn, as well as composition lessons with Salieri. The young
prodigy had great success when he toured in Europe. He also became
known for his ability to improvise. Hummel struck up a friendship with
Beethoven, but the two were veiy frequently at odds. His compositions
were widely renowned and frequently played during his lifetime, falling some¬
what out of favor posthumously. The works cover nearly every genre,
although modem performers gravitate mostly toward his piano composi¬
tions and chamber music. His piano method, Ausfuhrlich theroetisch-
practische Anweisung zum Piano-forte Spiel (Comprehensive Theo¬
retical-Practical Instruction for Playing the Pianoforte), is a major source
of information about the late Viennese style of performing and ornamenta¬
tion. The important musical journal, Allgemeine Musikalische Zeitung,
wrote that Hummel “combined the clarity and the profound serenity of
Mozart’s style with the rich splendor and the novel manner of our own
time.” Today Hummel’s style is widely regarded as the historic bridge
between the styles of Mozart and Chopin.
Dating from October 1829, the “Military” Septet derives its nickname from
the military quality of the first movement, a Viennese fad of the time. Ac¬
cording to other sources, the nickname also comes from the fact that Hummel
used the trumpet, a rarity in chamber music at that time. Scored for flute,
clarinet, trumpet, violin, cello, double bass, and piano, the septet was simul¬
taneously published in London, Vienna, and Paris in 1830. The London
publication was dedicated to Mrs. Lucy Anderson, who was the first fe¬
male pianist to perform concerts with the Philharmonic Society in London.
Mrs. Anderson performed the septet in its only Philharmonic Society per¬
formance in 1831 with Nicholson (flute), Willman (clarinet), T. Harper Se¬
nior (trumpet), Mori (violin), Lindley (cello), and Dragonetti (double bass).
The ebullient first movement is in sonata-allegro form. The trumpet is tacet
during the lyrical second movement, but returns in the third-movement
menuetto. The trio section of this movement particularly features the trum¬
pet. The final movement is an abbreviated sonata-allegro form. This move¬
ment is further distinguished by a brief fugato section. The piece closes
very quietly, in contrast to the natural expectation after such a long and
rather ebullient work.
2005-2006 marks the Ceruti Chamber Players’ twentieth season. The
Louisville-based ensemble was one of two United States ensembles se¬
lected to participate in the first Osaka (Japan) International Chamber Mu¬
sic Festa. The critically acclaimed Ceruti Chamber Players have performed
at the Master Musicians Festival (Somerset, Kentucky), Musikfest Bethlehem
(Pennsylvania), Piccolo Spoleto Festival (Charleston, South Carolina), the
Indiana State University Contemporary Music Festival (Terre Haute, Indi¬
ana), and The Louisville Orchestra’s New Dimensions Series. The
ensemble’s performances have included many Louisville premieres of con¬
temporary music as well as the world premiere of Frederick Speck’s Post¬
cards for Ilse (written for the Ceruti Chamber Players). Following the
ensemble’s Louisville premiere of James Chaudoir’s Quartet for Violin,
Clarinet, Cello, and Piano, the Ceruti Chamber Players recorded this
work for Capstone Records (On the Beach at Night, CPS-8672). Their
performances have aired on Kentucky Educational Television, the former
Louisville in Concert series on WFPK-FM, the University of Louisville
Concert Hour on WUOL-FM, and Lunchtime Classics on WUOL-FM.
In 2001 the ensemble inaugurated its annual Sommermusik series. This
season the Ceruti Chamber Players will perform on the Classical Chamber
Music Concert Series at Indiana University Southeast in addition to its regular
season performances at the University of Louisville.
Pianist Grace Baugh-Bennett maintains a busy career as a soloist and
collaborative pianist. She holds the Bachelor of Music and Master of Mu¬
sic degrees in piano performance. Her principal teachers include Nina
Svetlanova, Lee Luvisi, and Doris Owen Bickel. Ms. Baugh-Bennett’s solo
performances include appearances with the Louisville Ballet and The Lou¬
isville Orchestra, a recital as convention artist for the Kentucky Federation
of Music Clubs State Convention, and recitals for Special Audiences, Inc.,
in Atlanta, Georgia. Ms. Baugh-Bennett has performed on The Louisville
Orchestra’s New Dimensions series, the radio recital series WFPK Live!,
the Piccolo Spoleto Festival in Charleston, South Carolina, Musikfest
Bethlehem in Bethlehem, Pennsylvania, the Festival of American Art Song
in Boulder, Colorado, and the Cleveland Art Song Festival in Cleveland,
Ohio. She performed at the First Osaka (Japan) International Chamber
Music Festa with the Ceruti Chamber Players. Ms. Baugh-Bennett serves
as pianist for The Louisville Orchestra, principal pianist of the Ceruti Cham¬
ber Players, and pianist/artistic director of Ars Vocalis. She teaches as
Instructor of Piano at Indiana University Southeast.
Robert Docs holds the Bachelor of Music degree in music education from
Kent State University and Master of Music degree in double bass perfor¬
mance from Ball State University. His principal teachers include Dr. Phillip
Albright, Anthony Knight, and Dr. Moshe Amitay. Mr. Docs serves as
principal double bassist of the Ceruti Chamber Players in addition to fre¬
quent performances with jazz combos and Broadway Series shows. In
2000 he founded the New Millennium Duo with pianist Grace Baugh-Bennett.
A native of Akron, Ohio, Mr. Docs has been a member of The Louisville
Orchestra since 1980.
Donald Gottlieb has been the principal piccoloist of The Louisville Or¬
chestra since 1978. He graduated from Baldwin-Wallace College where
he studied flute, with a special emphasis on the piccolo with William J.
Hebert of the Cleveland Orchestra. Mr. Gottlieb has been a featured solo¬
ist with The Louisville Orchestra on both flute and piccolo on numerous
occasions. He gave the United States premiere of Powel Symanski’s4p-
pendix for solo piccolo and chamber orchestra in 1987, and has also been a
featured soloist at The National Flute Convention. When not performing
with The Louisville Orchestra, Mr. Gottlieb shares his passion for the flute
and piccolo with people through his teaching at his home studio, the Univer¬
sity of Louisville School of Music, and master classes.
Bruce Heim is the Horn Professor at the University of Louisville, Acting
Co-Principal Horn of The Louisville Orchestra, and a member of Sonus
Brass. A graduate of the Juilliard School, he has served on the faculties of
Louisiana State University, the University of Missouri, Oklahoma State
University, the University of Oklahoma, and the Sewanee (Tennessee) Sum¬
mer Music Festival and as Principal Horn of the Oklahoma Symphony Or¬
chestra. As a solo recitalist, concerto soloist, and chamber musician, Mr.
Heim has performed at numerous international music festivals as well as
throughout the U.S. He frequently performs with the Saint Louis Sym¬
phony Orchestra, including their 1993 and 1998 European tours and numer¬
ous East Coast tours. Mr. Heim can be heard on the critically acclaimed
recording, Sonus Brass Captured. He maintains an active schedule of
private teaching and fulfills invitations as teacher, concerto soloist, clinician,
and adjudicator.
Trevor Johnson, Assistant Principal Oboe with The Louisville Orchestra,
is an active participant in Louisville's musical scene. He also serves as
principal oboist with the Ceruti Chamber Players and Principal Oboe with
the Louisville Bach Society. Mr. Johnson has been soloist with the Emerson
String Quartet, the Louisville Bach Society, the Fort Dodge (IA) Symphony
Orchestra, and was a featured guest artist at the 1997 Octoboefest Con¬
vention. He has performed in such varied venues as the Ohio Light Opera,
the Fort Lee (NJ) Chamber Music Series, and on stage at Alice Tully Hall
at Lincoln Center. Mr. Johnson holds the Master of Music degree from the
Hartt School, where he was a student of Humbert Lucarelli, and the Bach¬
elor of Music with Highest Distinction from the University of Iowa, where
he was a student of Mark Weiger. He serves as instructor of oboe at
Indiana University Southeast.
A native of Queens, New York, Andrea Levine was appointed principal
clarinet of The Louisville Orchestra in 2003. She earned the Bachelor of
Music degree from the Eastman School of Music, where she served as
principal clarinet of the Eastman Wind Ensemble and Eastman Philharmonia
on tours to Japan and Germany. While completing graduate studies at the
Cleveland Institute of Music, Ms. Levine also served as principal clarinet of
the Akron Symphony and was professor of clarinet at Hiram College. Her
major teachers include Franklin Cohen, Daniel Gilbert, Kenneth Grant,
Mitchell Estrin, and Lawrence Sobol. Ms. Levine was a fellow at the
Tanglewood Music Center and has participated in the Chautauqua, Sarasota,
and Blossom music festivals. Prior to coming to Louisville, she was a mem¬
ber of the New World Symphony in Miami, Florida. Ms. Levine has been a
frequent extra player with the Cleveland Orchestra, the Cleveland Pops
Orchestra, and the symphony orchestras of Indianapolis and Wheeling. Ms.
Levine has appeared as soloist with the Eastman Philharmonia, the Cleve¬
land Pops Orchestra, the Eastman Wind Ensemble, and The Louisville Or¬
chestra.
Allison Braid Olsen began cello studies at age nine. Having grown up in
a musical home, she actively performed in orchestral and chamber music
settings in her youth, including the Cincinnati Junior Strings and Youth Or¬
chestra. Many of her summers through high school and college were spent
at music festivals, some of which include Eastern Music Festival, The Grand
Teton Music Festival, Kent/Blossom, the National Orchestra Institute, the
National Repertory Orchestra, Spoleto USA, The Lancaster Festival, and
the Lakeside Summer Symphony. Ms. Braid Olsen received a Bachelor of
Music Performance from Rice University, a Master’s Degree in Music
Performance from the University of Akron, and continued her studies at
The Cleveland Institute of Music in the Professional Studies Program. Her
teachers have included Desmond Hoebig, Eric Kim, Shirley Trepel, Michael
Haber, and Stephen Geber. Ms. Braid Olsen has also performed and toured
internationally with the North Carolina School for the Arts in Europe, in the
Middle East with the Jerusalem International Symphony Orchestra, as well
as in Russia. Formerly the Principal Cello of the Akron Symphony Orches¬
tra and a member of the Marini String Quartet, Ms. Braid Olsen is now the
Principal Cello of the Owensboro Symphony Orchestra and performs regu¬
larly with The Louisville Orchestra.
Marcus Ratzenboeck has been the Principal second violin of the Louis¬
ville Orchestra since 2000. He has been violin faculty at the University of
Louisville and the second violinist of the Louisville String Quartet since
2001. Mr. Ratzenboeck has a Masters in Violin Performance from Indiana
University where he studied with Henryk Kowalski and Yuval Yaron. He
also holds a Bachelor of Music in Violin Performance from Florida State
University where he studied with Eliot Chapo. While at Indiana University
he served as concertmaster of the IU Symphony Orchestra and co-con-
certmaster of the Columbus Philharmonic. Mr. Ratzenboeck has served as
concertmaster and soloist for the Spoleto, U.S.A festival in 1997 and 1998.
He has participated in numerous festivals including Sarasota Music Festi¬
val, Tanglewood Festival, A.I.M.S. Graz, Bear Valley Music Festival, and
concertmaster of the Indiana University Festival Orchestra.
Michael Tunnell is Professor of Trumpet at the University of Louisville
and a founding member of Sonus Brass. Dr. Tunnell holds degrees from
the University of Tennessee (Bachelor of Music), the University of Louis¬
ville (Master of Music), and the University of Southern Mississippi (Doctor
of Musical Arts). His teachers include Leon Rapier, Allan Cox, Adolph
Herseth and Armando Ghitalla. Dr. Tunnell previously served on the music
faculties of the University of Southern Mississippi, SUNY-Potsdam Col¬
lege, the University of Illinois, and the New England Music Camp. An
active performer, he serves as Principal Trumpet with the Louisville Bach
Society and Auxiliary Trumpet with The Louisville Orchestra. Dr. Tunnell
has performed as solo recitalist, concerto soloist, and chamber musician at
numerous international festivals as well as throughout the U.S. His numer¬
ous recordings include four solo CDs as well as Sonus Brass Capture .
Dr. Tunnell serves on the Artist Faculty of the National Trumpet Competi¬
tions and is an artist-clinician for Kanstul Trumpets.
The Ceruti Chamber Players gratefully acknowledge the University of
Louisville School of Music's support of this performance.
School of c
music
LNIVERSITYof l OUISVIIiJE
dare to be great
Thursday, January 26, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Convocation
Three Pieces for Clarinet Solo Igor Stravinsky
(1882-1971)
Michelle Linder, clarinet
MUS 211 / Tidwell
Theme and Variations Franz Joseph Haydn
Andante (1732-1809)
Brill ante
Risoluto
Sentimento
Allegramente ,
Jessica Hyden, harp
MUS 119 / Cook
music
IMVERSTIYqf LOUISVILLE.
‘ 1 --
dare to be great
presents
Bruce Heim, horn
with
Meme Tunnell, piano
Faculty Recital
Friday Evening
January 27, 2006
8:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pacers. Thank you.
PROGRAM
Concerto No. 2 in E-flat, K. 417
l. Allegro maestoso
II. Andante
m. Rondo (Allegro)
Wolfgang Amadeus Mozart
(1756-1791)
Concerto No. 4 in E-flat, K. 495 Wolfgang Amadeus Mozart
I. Allegro moderato
II. Romanza: Andante cantabile
III. Rondo: Allegro
INTERMISSION
Concerto No. 3 in E-flat, K. 447 Wolfgang Amadeus Mozart
I. Allegro
II. Romanza: Larghetto
III. Allegro
Concerto No. 1 in D, K. 412
I. Allegro
II. Rondo: Allegro
Wolfgang Amadeus Mozart
BIOGRAPHIES
Bruce Heim is the Horn Professor at the University of Louisville, Acting
Co-Principal Horn of the Louisville Orchestra and a member of Sonus
Brass. Since his graduation from The Juilliard School in 1974, he has
developed an international reputation as a performer and teacher. He has
served on the faculties of Louisiana State University, University of Mis¬
souri, Oklahoma State University, University of Oklahoma, and the Sewanee
(Tennessee) Summer Music Festival. As a chamber musician, he has
performed at music festivals in Italy, Germany, the Republic of China
(Taiwan), Venezuela, and many states of the U.S. Mr. Heim has performed
and recorded with the Saint Louis Symphony Orchestra, including many
domestic and international tours.
He has performed as a concerto soloist and solo recitalist in many states
of the United States and in Venezuela. He has appeared as a solo recitalist
for the International Horn Society at regional and international work¬
shops. His 2003 appearances as a soloist included the Brevard Music
Festival (Britten Serenade), and Utah State University (Strauss Concerto
No. 1). As a member of Sonus Brass, he has performed extensively through¬
out the United States, the Far East, and South America.
Professor Heim has a graduate degree in music theory from the University
of Tulsa. He is recognized as an expert in musical intonation and tuning
systems. His master's thesis continues to be circulated among instrumen¬
talists and conductors who share an interest in how to teach intonation
more effectively.
Meme Tunnell is Instructor of Piano and Music Theory at Bellarmine
University in Louisville, Kentucky, where she also serves as Staff Accom¬
panist and Director of Preparatory Music. She maintains a private piano
studio and is active as a chamber musician, adjudicator, and clinician, and
performs regularly with numerous solo artists throughout the United
States. Tunnell has performed as adjunct keyboardist with the Louisville
Orchestra since 1988, and formerly was principal keyboardist for the
Meridian Symphony, Gulf Coast Symphony, and Champaign-Urbana
Symphony Orchestras, and the Sinfonia da Camera of Illinois. Tunnell's
recording credits include the Coronet Records CD's Melancholia, Lumen, and
the Centaur Records Passages with trumpeter Michael Tunnell, Mixed
Doubles with Michael Tunnell and tubist Fritz Kaenzig, both on the Coronet
label, and Chamber Music, featuring saxophonist Joseph Lulloff, on the
Veriatza label. Tunnell was President of the Greater Louisville Music
Teachers Association for the 1996-98 term and also served a term as
Kentucky Music Teachers Association Piano Chair. She is a former member
of the piano faculties at the University of Southern Mississippi and S.U.N. Y.-
Potsdam College.
IMVERSIIYoflDUISVILLE.
#***'■ ■' ' .
dare to be great
presents
2006 Invitational Honor
Concert Band
and Wind Ensemble
with the
University
Wind Symphony
Saturday Evening
January 28,2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other emergency, please loaiv
. •. IT rt r 1 * J • J n 7- 7 L _7--- 1- -1—*-iL. _7. *7. _* f 7 r» l KtOi>
nearest exit. The use of recording devices and flash photography is strictly prohibited. Please silence cell
ELECTRONIC WATCHES AND PAGERS. Thank yOU.
p HO,V t
PROGRAM
2006 Invitational Honor Concert Band
Gregory Byrne, conductor
Circus Galop (1915)
John Philip Sousa
(1854-1932)
Theme from Schindler's List (1993) John Williams (b. 1932)
arr. Calvin Custer
J. Patrick Rafferty, soloist
Ave Maria (2004) Franz Schubert (1797-1828)
arr. Frank Ticheli
Rikudim (1996) Jan Van der Roost
l. Andante moderato (b. 1956)
II. Allegretto con eleganza
m. Andante con dolcezza
IV. Con moto e follemento
2006 Invitational Honor Wind Ensemble
Frederick Speck, conductor
Mosaic (2004)
Swing Low, Sweet Chariot (2000)
Court Festival (1957)
I. Intrada
n. Pavan
in. Galliard
IV. "The Horses" Brartle
Stephen Paulus
(b. 1949)
Steve Rouse
(b. 1953)
William Latham
(1917-2004)
Clowns - Tempo di galop (2001)
Philip Parker
(b. 1953)
University Wind Symphony
Frederick Speck, conductor
Syrtos
from Dances from Crete (2003)
The Alcotts (1909-1915)
Vientos y Tangos (2002)
The Melody Shop (1910)
Adam Gorb
(b. 1958)
Charles Ives
(1874-1954)
Michael Gandolfi
(b. 1956)
Karl L. King
(1891-1971)
preaencK specK ana Gregory Byrne, directors
Flutes/Piccolos
Chelsea Alder
Vine Grove
Lauren Boyer
Crestwood
Paige Clark
Shepherdsville
Kathryn Crimm
Pewee Valley
Heather Heines
Louisville
Casey Henry
Louisville
Jenny Hippie
Louisville
Caitlyn Kruer
Crestwood
Katie Renneker
New Salisbury, IN
Kristina Schermerhom
i Palmyra, IN
Melissa Tackett
Pikeville
Oboes
Haley Hensley
Georgetown, IN
Sara Johnson
Benton
Mary Beth Mann
Elizabethtown
Natalie Pope
Crestwood
Jessica Simms
Benton
Carrie Wohlschllege
Shepherdsville
Clarinets
Kimbia Amo
Louisville
Megan Ball
Shepherdsville
Andrew Banta
Corydon, IN
Joey Brown
Louisville
Emily Castle
Wilder
Eden Fryman
Felicity, OH
LaQuisha Green
Allens ville
Allison Hartman
Louisville
Betsy Heines
Shepherdsville
Whitney Jamison
Eminence
Mikka Johnson
Taylorsville
Gwen Marx
Crestwood
Jessica Mathes
Corydon, IN
Christy Neely
Campbellsburg
Heather Pigram
New Castle
Jennifer Powers
Prospect
Kathryn Randall
Louisville
John Scott
Pikeville
Rebecca Smith
Louisville
Ashleigh Steever
Taylorsville
Amanda Tall ant
Georgetown
Jamie Waller
Palmyra, IN
Bass Clarinets
Emily Camall
Shepherdsville
Jessica Mattingly
Crestwood
Michael Wells
Eminence
Bassoons
Dan Bielman
LaGrange
Emily Brommell
Eminence
Jessica Hubbard
Crestwood
Ben Vogt
Louisville
Alto Saxophones
Samantha Baker
Shepherdsville
Trenton Barrick
Glasgow
Reynold Douglas
Cordova, TN
Will Fergason
LaGrange
Amelia Gessner
LaGrange
David Houston
Wittensville
Yosuke Kani
New Albany, IN
Carl Pickering
Louisville
Robert Yeager
Hilliard, OH
Tenor Saxophones
Sadie Biles
Louisville
Jessica Wilkinson
Corydon, IN
Baritone Saxophones
Austin Jenkins
Louisville
William White
Corydon, IN
Horns
Anna Cobb
Peewee Valley
Allie Damall
Benton
Joe Kramer
New Salisbury, IN
Stephanie McKeel
Crestwood
Samantha Owens
Crestwood
Jamie Price
LaGrange
Kendra Russell
Radcliff
Josh Walters
Louisville
Trumpets
Kellie Coffman
Hilliard, OH
Michael Farris
Louisville
Andrew Frazee
Franklin, OH
Natalie Gooch
Pikeville
Jennifer Grant
Fisherville
Zach Groves
Benton
David Jaffe
Louisville
Dmitri Kapsalis
Prospect
Laura Lucas
Felicity, OH
Jimmy McCarl
Crestwood
Miranda Melton
Louisville
Katie Raynor
Louisville
Amelia Sadler
Depauw, IN
Levi Shanks
Fisherville
Trombones
Bree Brayo
Crestwood
Victoria Foley
California
Arron Hawkins
Turners Station
Keith Kinder
Franklin
John McDonough
New Albany, IN
Clayton McPeak
Leitchfield
Adam Moses
Louisville
Cameron Smith
English, IN
Austin Webster
Taylorsville
Euphoniums
Kyle Cain
LaGrange
Ryan Geoit
Hilliard, OH
Tubas
Kyle Blevins
Louisville
Alex Dansby
Radcliff
Desmond Mitchell
Louisville
Erik Moore
Hilliard, OH
Emily Walker
Smithfield
Kinsey Whearty
Louisville
Thomas Whittaker
Prospect
Percussion
Blake Button
Campbellsburg
Amanda Hawkins
Shepherdsville
David Moore
Louisville
Brittany Moryl
Gilberts ville
Randy Pero
LaGrange
Mark Reeves
Louisville
Evan Shields
Crestwood
University Wind Symphony
Frederick Speck, director
Piccolo
Tyra Blasher +
Louisville
Flutes
Amanda Taylor t
Katie Fondrisi *
Penelope Quesada
Tiffany Wilson
Benton
New Albany, IN
Lima, PERU
Ashland
Oboes
Gretchen Reiter t
Wendy Frazee
Crescent Spring
Franklin, OH
Clarinets
Noriko Taka t *
Amber Richeson
Michelle Linder
Sharon Edmonds
Heather Stokes
Amanda Wright
Chris Phillips
Hiroshima, JAPAN
Owensboro
Cincinnati, OH
Louisville
Louisville
Alexandria
Milford, OH
Bass Clarinet
Brad Baumgardner *
Nashville, TN
Contra Bass Clarinet
Courtney Drown
Georgetown
Bassoons
Carrie Baxter t *
Erica Jones
Fredonia, NY .
Fort Erie, Ontario,
CANADA
Alto Saxophones
Kevin Arbogast t
Jennifer Hoffmann
Bowling Green
Louisville
Tenor Saxophone
Tommy Zinninger
Louisville
Baritone Saxophone
Daniel Reams
Cecilia
Horns
Kate Reyman t Decatur, IL
Dominic Rotella Louisville
Lindsay Pummell Cincinnati, OH
Nickie Lewis Louisville
Leah Simer Centralia, IL
Trumpets
Ryan Nottingham +
Louisville
Matt Janssen *
Watseka, IL
Michael Swope *
Connersville, IN
Ryan McCaslin *
Bablyon, NY
Melissa McDaniel *
Collierville, TN
Daniel Whaley *
Knoxville, TN
Trombones
Audrey Davis t
Louisville
Sarah Finger
Anderson, IN
Aaron Stepp
Glasgow
Bass Trombone
Anastasi Fafalios *
Belle Vernon, PA
Euphoniums
Daniel Stull t
Payneville
Matt Byrum
Louisville
Sarah Danyi *
Oregon, OH
Tubas
Aaron Gaither t
Louisville
Adam Yankowy
Louisville
Percussion
Matt Greenwood t Floyds Knobs, IN
Whitney Winstead Crestwood
Andrew Powell Benton
Phil Turner New Albany, IN
Double Bass
Charles Blanton Charlotte, NC
* graduate student
t principal
School of
music
INIVERSTIYqf IOUISVILLE
dare to be great
presents
Louisville Brass
and Friends
Brass
Spectacular
Sunday Evening
January 28, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Music for a Solemn Occasion
Jan Segers
(b. 1929)
Symphonia for four comi da caccia Johann Melchior Molter
Allegro (1696-1765)
Menuet arr. Tunnell/Heim/Ash worth
Allegro
Allegro
Allegro
Michael Tunnell, Arthur Vanderhoeft,
Stacy Simpson and Bruce Heim, comi da caccia
Mini Overture
Witold Lutosla wski
Cardinal Brass Quintet
(1913-1994)
Concerto m Eb for Como Christoph Forster
(1693-1745)
arr. Reese Land
Arthur Vanderhoeft, como da caccia
Symphony
Allegro J an Koetsier
Larghetto (1911-2006)
Rondo - Presto
Intermission
Animal Ditties Anthony Plog
The Duck (b. 1947)
The Praying Mantis
The Cow
The Rhinocerous
The Camel
The Octopus
The Squab
The Firefly
The Wasp
The Cuckoo
Louisville Brass
Salem
Kevin Houben
(b. 1977)
Concert Scherzo
Alexander Arutunian
Arthur Vanderhoeft, trumpet
(b. 1920)
Elegy
Alexander Arutunian
Arthur Vanderhoeft, trumpet
Polovtsian Dances
Alexander Borodin
(1833-1887)
arr. Georges Moreau
Animal Ditties VII
for Brass Quintet & Narrator
The Duck
Behold the duck
It does not cluck
A cluck it lacks
It quacks
It is specially fond
Of a puddle or pond
When it dines or sups
It's bottom's
Ups
The Praying Mantis
From whence arrived the praying mantis
From outer space or lost Atlantis?
I glimpse the grim, green metal mug
that masks this pseudo-saintly bug
Orthroporous
Also carnivorous
And faintly whisper
Lord deliver us
The Cow
The cow is of the bovine ilk
One end is moo the other
Milk
The Rhinoceros
Tire rhino is a homely beast
For human eyes he's not a
feast
Farewell, fare well you old
rhinoceros
I'll stare at something less
preposterous
The Camel
The camel has a single hump
The dromedary two
Or else the other way around
I'm never sure
Are you?
The Octopus
Tell me oh octopus I begs
Is those things arms or is they legs
I marvel at thee. Octopus
If I were thou I'd call me us
The Squab
I eat the squab
Lest it
Become a pigeon
The Firefly
The firefly's flame
Is something for which science has no name
I can think of nothing eerier
Than flying around
With an unidentified glow
On a persons
Posterior
The Wasp The Cuckoo
The wasp and all his numerous family Cuckoos lead bohemian lives
I look upon as a major calamity They fail as husbands and as wives
He throw open his nest with prodigality Therefore they cynically disparage
But I distrust his Everybody else's
Waspitality Marriage
Biography:
Featured Guest Artist
Arthur Vanderhoeft
Arthur Vanderhoeft studied at the Royal Conservatories of Brus¬
sels and Antwerp, and with Mario Guarneri at the California Institute of
the Arts in California, USA. He was also a student of the late James Stamp.
He obtained First Prices for trumpet and chamber music. At CalArts he
graduated as Master of Fine Arts.
In 1971 he was the First Prize winner in the National Competition
Pro Civitate (now Axion Classics).
While still a student he took part in several projects. He performed
with the Flemish National Youth Brass Band, the Belgian Youth Orchestra,
the Jeunesses Musicales World Orchestra and the Philip Jones Brass
Ensemble course.
After finishing his studies he chose a teaching career, but he often
performed on a freelance basis with the Antwerp Philharmonic Orchestra,
the BRT Symphonic Orchestra, the Collegium Instrumentale Brugense, the
Theo Mertens Brass Ensemble, the Gabrieli Brass Ensemble, the Brabant
Brass Band, the Fred Van Hove Quintet, Brass Band Willebroek and
Festival Brass Band. He was also a member of the internationally re¬
nowned Xenakis ensemble.
While devoting himself to his steadily growing Brass Class at the
Antwerp Music Academy, he went back to the Brussels Conservatory to
specialize on the como da caccia. He worked there during 3 intensive years
with the renowned horn professor Andre Van Driessche and obtained
another First Prize on the corno da caccia.
As a soloist he performed in Belgium, the Netherlands, France,
Germany, Poland, the USA, Costa Rica, Russia and Thailand.
He also performs regu larly in recitals with his wife, Greet Severens,
bringing a unique program of trumpet and clarinet music.
He conducted different ensembles and orchestras in Belgium, the
Netherlands, Germany, Poland, Latvia, Switzerland, the USA, Costa Rica
and Russia. In his programming he never neglects bringing work from
Belgian composers.
He is still full time teacher at the Antwerp Music Academy. He
conducts several orchestras in the province of Antwerp and functions
regularly as a contest juror.
Louisville Brass
Michael Tunnell, trumpet
Herbert Koerselman, trumpet
Bruce Heim, horn
Brett Shuster, trombone
John Jones, tuba
Cardinal Brass Quintet
Michael Swope, trumpet
Charles Calloway, trumpet
Kate Reyman, horn
Audrey Davis, trombone
Aaron Gaither, tuba
Friends
Matthew Byrne, trumpet
Reese Land, trumpet
Stacy Simpson, trumpet
Lorenzo Trujillo, trumpet
Andrey Astazia, horn
Karla Neal, horn
Lindsay Pummell, horn
Dominic Rotella, horn
Fred Williams, horn
Ian Carroll, trombone
AnastasiFafalios, trombone
Clint Woltering, trombone
Daniel Stull, euphonium
Matt Greenwood, percussion
Rodney Younger, percussion
For their valuable assistance in making this concert possible,
we extend special appreciation to other friends:
U of L Student Government Association
U of L School of Music Applied Music Division
Dean Christopher Doane
John Jones
Lee Coldiron
Miles Ahead
Conrad Music
Don Wilson Music
Mel Owen Music
m usic
IMVERSIlYof IOUISVILLE
^ --
dare to be great
10th Annual African American Music Heritage Institute
presents
Blues Women:
An Anthology of
Black American Music
with
Kathy Wade, vocals
and
The Khalid Moss Quartet
Sunday Evening
January 29, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
10th Annual African American Music Heritage Institute
(AAMHI)
January 29-30,2006
Jerry Tolson, Institute Director
Christopher Doane, Dean
presents
Guest Artists
Kathy Wade, vocals
with
The Khalid Moss Quartet
Mike Wade, trumpet
Khalid Moss, piano
Eric Sayre, bass
Melvin Broach, drums
Program Selections to he Announced .
Other Institute Events
Monday, January 30, 2006
3:00 p.m. Masterclass for UofL students
Margaret Comstock Concert Hall
4:00 p.m. Lecture-Music Industry Class
UofL School of Music (room TBA)
Mission Statement
The mission of the African American Music Heritage Institute is to
provide an educational and enrichmentexperienceinmusicfrom
theheritage of African Americans and the diaspora. Thelnstitute
will foster a better understanding among a culturally diverse
community and studentpopulation.
This project is made possible with funding from
the Office of the Vice Provost
for Diversity and Equal Opportunity,
the UofL School of Music,
the UofL School of Music Student Association,
and private patrons.
music
IMVERSITYof 1DUISVLLLE.
1 --
dare to be great
presents
Arthur Vanderhoeft
and
Michael Tunnell,
corni da caccia
with
Meme Tunnell, piano
Tuesday Evening
January 30, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pacers. Thank you.
PROGRAM
Concerto in F for 2 comi da caccia
Largo-Allegro
Siciliana
Allegro
Georg Philip Telemann
(1681-1767)
Concerto in Eb for solo como da caccia
Allegro
Siciliano
Tempo di menuetto
Rollig
(fl. ca. 1720-1741)
Michael Tunnell, soloist
Concerto in F for 2 comi da caccia
Allegro
Andante piu meno un poco allegro
Presto
Johann David Fleinichen
(1683-1729)
Intermission
Concerto in F for 2 comi da caccia
Allegro
Larghetto
Allegro
Antonio Vivaldi
(1678-1741)
Concerto in Eb for solo como da caccia
Con discretione
Adagio
Allegro
Arthur Vanderhoeft, soloist
Christoph Forster
(1693-1745)
Andante cantabile
Piotr Illitch Tchaikovsky
(1840-1893)
Arthur Vanderhoeft, soloist
Concerto in F for 2 corni da caccia Johann Friedrich Fasch
Allegro (1688-1758)
Andante
Allegro
For their valuable assistance in making this concert possible,
we extend special appreciation to our friends:
U of L Student Government Association
U of L School of Music Applied Music Division
Dean Christopher Doane
John Jones
Lee Coldiron
Miles Ahead
Conrad Music
Don Wilson Music
Mel Owen Music
Biography:
Featured Guest Artist
Arthur V anderho eft
Arthur Vanderhoeft studied at the Royal Conservatories of Brus¬
sels and Antwerp, and with Mario Guameri at the California Institute of
the Arts in California, USA. He was also a student of the late James Stamp.
He obtained First Prizes for trumpet and chamber music. At CalArts he
graduated as Master of Fine Arts.
In 1971 he was the First Prize winner in the National Competition
Pro Civitate (now Axion Classics).
While still a student he took part in several projects. He performed
with the Flemish National Youth Brass Band, the Belgian Youth Orchestra,
the Jeunesses Musicales World Orchestra and the Philip Jones Brass
Ensemble course.
After finishinghis studies he chose a teaching career, but he often
performed on a freelance basis with the Antwerp Philharmonic Orchestra,
the BRT Symphonic Orchestra, the Collegium Instrumentale Brugense, the
Theo Mertens Brass Ensemble, the Gabrieli Brass Ensemble, the Brabant
Brass Band, the Fred Van Hove Quintet, Brass Band Willebroek and
Festival Brass Band. He was also a member of the internationally re¬
nowned Xenakis ensemble.
While devoting himself to his steadily growing Brass Class at the
Antwerp Music Academy, he went back to the Brussels Conservatory to
specialize on the como da caccia. He worked there during 3 intensive years
with the renowned horn professor Andre Van Driessche and obtained
another First Prize on the como da caccia.
As a soloist he performed in Belgium, the Netherlands, France,
Germany, Poland, the USA, Costa Rica, Russia and Thailand.
He also performs regularly in recitals with his wife. Greet Severens,
bringing a unique program of trumpet and clarinet music.
He conducted different ensembles and orchestras in Belgium, the
Netherlands, Germany, Poland, Latvia, Switzerland, the USA, Costa Rica
and Russia. In his programming he never neglects bringing work from
Belgian composers.
He is still full time teacher at the Antwerp Music Academy. He
conducts several orchestras in the province of Antwerp and functions
regularly as a contest juror.
Biography:
Faculty Artist
Michael Tunnell
Michael Tunnell has been Professor of Trumpet at the University
of Louisville School of Music since 1988 where he performs with Louisville
Brass and conducts the Trumpet Ensemble. The University of Louisville
awarded Tunnell the Distinguished Teaching Award in 2003. Tunnell
performs as Principal Trumpet and Principal Como da Caccia with the
Louisville Bach Society and as Auxiliary Trumpet with the Louisville
Orchestra. A founding member of the brass quintet Sonus Brass, Tunnell
has toured the Far East and South America with this group and as a soloist.
He also is a founding member of the Derby City Brass Band. In addition, he
is featured on the Mark Records CD Sonus Brass Captured and the Centaur CD
Louisville Brass: Season to Dance as wellas five solo recordings: Mixed Doubles,
Melancholia, and Lumm, on the Coronet label, and Passages and TheMoming
Trumpet on the Centaur label. He can also be heard on the Sinfonia da Camera
of Illinois recording of the Saint-Saens Septet and on numerous Louisville
Orchestra First Edition recordings. Tunnell is a former member of the
music faculties of the University of Southern Mississippi, SUNY-Potsdam
College, the University of Illinois and the New England Music Camp.
Tunnell is a member of the International Trumpet Guild Board of Directors,
and he served as an editor for the ITG Journal from 1978-2000. In the
summer of 1999 Tunnell was a featured artist at Lieksa Brass Week in
Lieksa, Finland, and in July, 2001 he was a Visiting Professor at the Catholic
University of Chile in Santiago. He serves on the Artist Faculty of the
National Trumpet Competition and is an artist-clinician for Kanstul
Trumpets . Tunnell's degrees are from the University of Tennessee (Bach¬
elor of Music, 1976), The University of Louisville (Master of Music, 1978),
and the University of Southern Mississippi (Doc tor of Musical Arts, 1982).
His teachers include Leon Rapier, Allan Cox, Arnold Jacobs, Adolph
Herseth and Armando Ghitalla. His students hold positions in prominent
colleges and orchestras, and theyhave enjoyed great success in numerous
solo competitions both in the United States and in Europe.
School of
music
IMVERSTIYof LOUISVILLE.
--
dare to be great
presents
University
Symphony
Orchestra
with
Joseph Rescigno,
guest conductor
Tuesday Evening
January 31, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Symphony No. 3 in E-flat Major Ludwig van Beethoven
"Eroica", Op. 55 (1770-1827)
I. Allegro con brio
II. Marcia funebre. Adagio assai
III. Scherzo. Allegro vivace
IV. Finale. Allegro molto
INTERMISSION
Symphony in D Minor, Op. 48 Cesar Franck
I. Lento - Allegro non troppo (1822-1890)
II. Allegretto
III. Allegro non troppo
PROGRAM NOTES
Symphony No. 3 in E-flat Major Ludwig van Beethoven
("Eroica"), Op. 55
Allegro con brio
Marcia funebre. Adagio assai
Scherzo. Allegro vivace
Finale. Allegro molto
2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons,
3 Horns, 2 Trumpets, Timpani, Strings
In 1803, at the suggestion of the ambassador of the French Republic
to the Austrian Court, Beethoven began work on his third sym¬
phony which was to "honour the greatest hero of the age," Napo¬
leon Bonaparte. Beethoven had long been an admirer of his for
bringing political order out the dust of the French revolution, but
when Bonaparte crowned himself Emperor, Beethoven became
enraged. He then ripped the title page of the score in two and tossed
it to the floor. In the end, Beethoven settled with the title "Heroic
Symphony composed to celebrate the memory of a great man."
and dedicated it to his faithful patron Prince Lobkowitz.
The Symphony premiered (conducted by Beethoven) in April 1805
at the Theatre an der Wien. This first performance, although highly
anticipated because the story of the dedication was already well
known, met with harsh criticism: "This long, most difficult compo¬
sition is an extremely drawn out, bold and wild fantasy. Very often,
though, the work seems to lose itself in musical anarchy," with "too
many garish and bizarre elements."
Indeed, the "Eroica" is most probably the longest symphony
written to this time and with its composition, Beethoven begins
what will eventually propel the symphonic form out of its "classi¬
cal" form and into the more expansive "romantic" form: the
rhythmic energy is greater, the developments are longer and the
climaxes even more powerful.
(continued on reverse)
Cesar Franck
Symphony in D Minor, Op. 48
Lento-Allegro non troppo
Allegretto
Allegro non troppo
2 Flutes, 2 Oboes, English Horn, 2 Clarinets, Bass Clarinet,
2 Bassoons, 4 Horns, 2 Trumpets, 2 Cornets, 3 Trombones,
Tuba, Timpani, Harp, Strings
Cesar Franck was bom at Liege, Belgium in 1822. His father, a
music lover, gave both of his sons (Cesar and Joseph) a decent
musical education eventually placing them both in the Paris Con¬
servatory in 1836. Cesar achieved great success earning first prizes
in piano, organ and fugue. Unfortunately, his father's hopes of his
being a traveling virtuoso pianist were not to be and at the age of 30,
Franck turned exclusively to the organ. In 1858, Franck, a devout
Christian, became the organist at St. Clotilde and remained there
for the next forty years. It was at St. Clotilde that Liszt heard him
and lauded Franck's improvisational skills at the organ as the
greatest since Bach.
Franck's most well-known works date from the last ten years of his
life, 1880-1890. And, unfortunately, it was only after his death that
Franck's music became somewhat popular. These popular works
include: the Symphony in D Minor (1888), the Symphonic Varia¬
tions for piano and orchestra (1885), the A Major Violin Sonata
(1886), the Prelude, Chorale and Fugue for solo piano (1884) and
his single String Quartet (1889). Although not a "popular" com¬
poser during his lifetime (or even today, perhaps), Franck was
appointed professor of organ at the Paris Conservatory in 1871 and
it was there that a group of devoted students gathered together to
advocate for his music around Paris.
Franck's music, as evidenced in the Symphony in D Minor, is an
odd combination of German-influenced form and chromaticism
and a clearly French-influenced orchestration. The first movement
is a sonata form as neatly outlined as any Mozart symphony; Franck
limits his chromatic wandering to those places in the form (transi¬
tions, development) that one would expect. However, in the freer
second movement, his tonal wandering becomes more frequent
and in the finale, he reintroduces all the principal themes o t e
other two movements, thus creating a cyclic form.
BIOGRAPHY
Joseph Rescigno, conductor
Italian-American conductor Joseph
Rescigno is considered one of the fore¬
most interpreters of the verismo Italian
repertoire in the United States today.
Approaching his silver anniversary as
Artistic Director of the Florentine Op¬
era, Maestro Rescigno has led a wide
range of repertoire for the company
while maintaining an active guest con¬
ducting career.
Joseph Rescigno served as Music Director of L'Orchestre
Metropolitan du Grand Montreal for four years during which time
he expanded the repertoire and was praised for his ability to build
the orchestra. Four recordings commemorate his tenure: Mozart's
Exsidtate jubilate K 165 with soprano, Lyne Fortin; Brahms' Piano
Concertos featuring Angton Kuerti; Mendelssohn's Violin Concer¬
tos played by Angele Dubeau; and Beethoven's Egmont Overture
and Eroica. This season he joins the Milwaukee Symphony leading
performances of Berlioz's L'enfance du Christ. He has appeared at
the International Festival in Miskolc, Hungary, at the Casals Festival
in Puerto Rico and at the Festival International de Lanaudiere in
Quebec. He has conducted the Cedar Rapids Symphony (IA), the
Fort Wayne Symphony, the Hartford Symphony (CT) and the
Nashville Symphony Orchestra in concert. In Canada, he guest
conducted the Montreal Symphony, the Kitchener-Waterloo Sym¬
phony and the McGill Symphony Orchestra. In San Sebastian,
Spain, the conductor led a concert with celebrated soprano Ainoha
Arteta.
Joseph Rescigno was bom in New York City to a musical family. His
uncle, conductor Nicola Rescigno, was a founder of the Dallas
Opera and the Lyric Opera of Chicago. Maestro Rescigno is a
graduate of Manhattan School of Music where he studied with
Nicolas Flagello. He resides in New York with his wife Jeanne.
University Symphony Orchestra
Kimcherie Lloyd, director
Cary Cobb, assistant conductor
Noriko Taka, graduate assistant
Joe Ortiguera, graduate assistant
Kristin Roehrig, manager
First Violin
S cott Moore t
Juan Carlos Ortega
Joe Ortiguera
Elise Kotheimer
Gerome Stewart
Nicole Reiter
Patrick Rafferty *
Paola Manrique **
Amy Isbell **
Marcus Ratzenboeck *
Second Violin
C ordia S. Thompkins J;
Sowmya Srinivasan
Tanya Derringer
Leslie Heinzen
Alex Petersen
Savannah Sharp
Marisa J. Barnes
Arezou Etemad
Alice Buchanan
Elizabeth Wooldridge
Emily Caudill
Rachel Blanton **
Marcus Ratzenboeck *
Blaise Jessop Poth **
Viola
James Dersch %
Scott Farley
Monica Clarke
Alisson Reber
Sarah Speck
Hannah Turi
Jamie Hofman *
Joanne Wojtowicz **
Cello
Marlene Ballena %
Clayton Vaughn
Erin Cassel
Charlie Patton
Nicole Boguslaw
Katie Schladand
Fred Speck
Kristin Roehrig
Ben Sollee
Bass
Nick Wooldridge J;
Adam Cobb
Elizabeth Adams
Charlie Blanton
Alice Markiewicz
Erica Jones
Chris Korenkiewicz
Flute
Rebecca Johnson
Amanda Taylor
Tyra Blasher
Oboe
Gretchen Reiter
Wendy Frazee **
Barbara Keys **
English Horn
B arbara Keys **
Clarinet
Noriko Taka
Amber Richeson
Michelle Linder
Bass Clarinet
Amber Richeson
Bassoon
C arrie Baxter
Matthew Karr *
Horn
M att Smith
Dominic Rotella
Kate Reyman
Lindsay Pummell
Colin Dorman
Autumn Pate
Trumpet
Ryan Nottingham
Michael Swope
Daniel Whaley
Melissa McDaniel
Patrick McGinthy
Trombone
I an Carroll
Matt Yarborough
Brent Crim
Bass Trombone
A nastasi Fafalios
Tuba
Aaron Gaither
Timpani
Matt Greenwood
Harp
Jessica Hyden
t concertmaster * faculty 1 Beethoven
^ principal ** guest 2 Franck
IMVERSTIYqf I DULSVILLE ,
dare to be great
presents
Katie McLin, violin
with
Andrew Campbell, piano
Guest Recital
Wednesday Evening
February 1, 2006
8:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event offire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonata in B-flat Major for Piano and Violin,
KV 454
Largo - Allegro
Andante
Allegretto
W. A. Mozart
(1756-1791)
Sonatine (1934)
Vivace
Andante
Theme and Variations
Jean Frangaix
(1912-1997)
Aus der Heimat Bedrich Smetana
Moderato (1824-1884)
Andantino
INTERMISSION
in the cool night (2006)
Rodney Rogers
Sonata for Violin and Piano, Op. 36
Allegretto
Allegretto tranquillo
Andante non troppo - AUegro un poco agitato
Gabriel Pieme
(1863-1937)
The McLin/Campbell Duo
Described as "a superb husband/wife team who bring great excitement
and artistry to their performances of the violin and piano concert litera¬
ture/' the McLin/Campbell Duo appears on recital series throughout the
United States, sponsored by such diverse organizations as the Musical
MeritFoundationofSan Diego, theSt. Cecelia Society of Michigan, theFirst
Congregational Church of Cleveland, the Organ Vesper Series of Omaha,
the Music Teachers National Association and numerous universities and
conservatories. Performances marking their sixteenth season include
recitals in Oregon, Washington, Ohio, Arizona, Tennessee, Kentucky, and
North Carolina.
Violinist Katie McLin is Associate Professor of Violin at Arizona State
University and Artist Faculty at the Brevard Music Center of North
Carolina. Since her debut with the Oregon Symphony at the age of fifteen.
Dr. McLin has made dozens of appearances as a concerto soloist, with
recent and upcoming performances including Brahms Concerto (Tempe
Symphony Orchestra), Lalo Symphonie Espagnole (the Music in the Moun¬
tains Festival, Durango CO), the Vivaldi Four Seasons (Red Rocks Music
Festival), Interplay Triple Concerto with Regina Carter (the ASU Sym¬
phony Orchestra at the 2005 National ASTA conference in Reno), and the
Arnold Double Concerto (ProMusica Chamber Orchestra of Ohio). In
addition to her performances in the Duo, Dr. McLin performs extensively
across the country with the Trio del Sol (Robert Spring, clarinetist, and
Andrew Campbell, pianist) and has chamber music recordings under the
Summit, Naxos, and Opus One labels. Her performances have been broad¬
cast on NPR's Performance Today, NYC's WQXR "Listening Room,"
Arizona's KBAQ, and local radio stations across the country. Dr. McLin
currently serves as the Assistant Concertmaster of the ProMusica Orches¬
tra of Columbus, OH, and previously held the position of Concertmaster
with the Aspen Sinfonia and the Michigan Sinfonietta. A former student
of Paul Kantor at the University of Michigan, Dr. McLin also holds perfor¬
mance degrees from Indiana University, as a student of Josef Gingold and
Franco Gulli, and Oberlin College Conservatory, as a student of Kathleen
Winkler, and for three years was an orchestral fellowship recipient at the
Aspen Music Festival. A committed and passionate teacher, Dr. McLin was
awarded the Distinguished Teaching Award for the College of Fine Arts at
Arizona State University, chosen from over 170 faculty members, in 2004.
Former students include members of the Quebec, Phoenix, and Flint
Symphony orchestras, Concertmaster of the Arkansas Symphony, and
faculty members at Georgia Southern University, Southeastern College,
and Westminster College, among others.
(continued on reverse)
Andrew Campbell has established himself as one of the most versatile
collaborative pianists in the United States with a performing career that
has taken him to four continents. He has performed in recital with such
artists as violinist Chee-Yun, flutist Thomas Robertello, composer Bright
Sheng, and tenor Anthony Dean Griffey, with whom he has also collabo¬
rated on several operatic productions. He has served as rehearsal pianist
for such distinguished conductors as Andre Previn and Placido Domingo,
and has worked closely with the composer Carlisle Floyd on several
productions of his operas. Chamber music performances have taken him
to distinguished venues including Weill Recital Hall at Carnegie Hall,
where The Strad and Strings magazines both hailed his performance as
"excellent." As an orchestral pianist, he has performed with many en¬
sembles including the Phoenix Symphony, the Columbus Pro Musica
Chamber Orchestra, and the Brevard Music Center Festival Orchestra. He
has appeared as collaborative pianist at numerous international confer¬
ences, including the International Double Reed Society, National Flute
Association Convention, MTNA and the Society for American Music. Dr.
Campbell graduated Phi Beta Kappa and Pi Kappa Lambda in History and
Piano from Oberlin College and Conservatory and earned his MM in Piano
Performance from Indiana University. He received the Doctorate in Piano
Chamber Music and Accompanying from the University of Michigan
where he studied with the renowned accompanist Martin Katz. Dr.
Campbell is currently Assistant Professor of Collaborative Piano and
Chamber Music at the Arizona State University School of Music and the
Director of the Collaborative Piano Program at the Brevard Music Center.
He is a frequent member of the music staff and rehearsal pianist for the
Washington National Opera, and previous positions include principal
pianist for the San Diego Opera and Music Director and Pianist for the San
Diego Opera Ensemble.
Upcoming Events at the School of Music
(All events are admission free and field in Margaret Comstock Concert Hall,
unless otherwise noted. Events are subject to change.)
Friday. February 3 - 8:00 p.m.
Guest Artist: Christa Rakich, organ. The program will feature Sonatam Sea
(2003) bylames Woodman and a variety of sacred pieces by Johanna Senfter,
in addition to works by J. S. Bach and Johannes Brahms.
U of L Music Concert Line
PH: 502-852-0524
music.IouisviIle.edu
String Area
Master Class with Katie McLin
February 1, 2006
Comstock Hall
3:00 p.m.
Concerto No. 4 in D major, K. 218
Andante Cantabile
W. A. Mozart
(1756-1791)
Scott Moore, violin
Lisa Reynolds, piano
Sonata No. 2 in A minor, BWV 1003
Fuga
J.S. Bach
(1685-1750)
Juan Carlos Ortega, violin
Violin Concerto No. 5 in A major, K. 219
Allegro aperto
W. A. Mozart
Gerome Stewart, violin
IMVERSI^IOUISVILLE,
dare to be great
Thursday, February 2,2006 Convocation
3:00 p.m.
Margaret Comstock Concert Hall
Concerto no. 3 in B-flat Major
Carl Stamitz
(1745-1801)
Michael Burkhead, B-flat clarinet
MUS 112/Tidwell
David George, piano
Sonate for Clarinet and Piano
Massig bewegt
Paul Hindemith
(1895-1963)
Adam Thomas, clarinet
MUS 112/Tidwell
David George, piano
Grand Duo Concertant
El. Rondo
Carl Maria von Weber
(1786-1826)
Amanda Wright, B-flat clarinet
MUS 312 / Zavadil
David George, piano
Dances of the Dolls
Lyric Waltz
Gavotte
Romance
Polka
Dmitri Shostakovich
(1906-1975)
arr. Merlin Williams
Jennifer Hoffmann, soprano saxophone
Kevin Arbogast, alto saxophone
Tommy Zinninger, tenor saxophone
Daniel Reams, baritone saxophone
MUS 119/Moore
IMVERSIIY of IOUISVILLE,
---
dare to be great
Organ Guest Artist & Recital Series
presents
Christa Rakich
Friday Evening
February 3, 2006
8:00 p.m.
Margaret Comstock Concert Hall
f < c y ^ 4 0 & r ^ r
Christa Rakich's concert and
masterclass appearances at the
University of Louisville School
of Music are co-sponsored by the
Louisville Chapter of the Ameri¬
can Guild of Organists.
The Louisville Chapter of AGO was organized in 1935 and cur¬
rently supports one hundred members. Our organization strives to
promote literature of the pipe organ, the many historic and new
instruments in the area and the musicians who play this instru¬
ment. The guild is comprised of church organists, choir directors,
choristers, organ students and teachers, and those with an interest
in church music.
Purposes of the American Guild of Organists:
1. To advance the cause of organ and choral music, to
increase their contributions to aesthetic and religious expe¬
riences, and to promote their understanding, appreciation,
and enjoyment.
2. To improve the proficiency of organists and conductors.
3. To evaluate, by examination, attainments in organ perfor¬
mance, choral and instrumental training, and theory and
general knowledge of music, and to grant certificates to
those who pass these examinations at specific levels of
attainment.
4. To provide members with opportunities to meet for
discussion of professional topics, and to pursue such other
activities as contribute to the fulfillment of the purposes of
the Guild.
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Fantasia super Komm, heiliger Geist,
S 651
Johann Sebastian Bach
(1685-1750)
Sonata No. 5 in C, BWV 529
Allegro
Largo
Allegro
J. S. Bach
Prelude and Fugue in G Minor,
WoO 10 (1857)
Johannes Brahms
(1833-1897)
Vom Himmel hoch, da komm' ich her
In dulci jubilo
Puer natus in Bethlehem
Wer nur den lieben Gott lasst walten
Lobe den Herm
Johanna Senfter
(1879-1961)
Improvisation
Sonata in Sea: Cape Cod (2003)
Barnstable
Wellfleet
Provincetown
James Woodman
(b. 1957)
Contrapunctus XI, from The Art of Fugue
J. S. Bach
A reception will follow in the lobby of the School of Music.
All concertgoers are invited to attend.
BIOGRAPHY
Concert and recording artist Christa Rakich is co-chair of the Organ
Department at New England Conservatory in Boston. She is also Artist-
in-Residence at St. Paul's Episcopal Church in Brookline, MA.
As a Fulbright Scholar, Christa Rakich studied for two years with Anton
Heiller at the Hochschule fur Musik in Vienna, Austria. She holds Bachelor's
degrees in Organ and German from Oberlin College (Phi Beta Kappa). After
receipt of her Master's degree with honors from New England Conserva¬
tory, she was asked to join the faculty there, where she taught for several
years. Before returning to teach at NEC, she served on the faculties of
Westminster Choir College and the University of Connecticut, as Assistant
University Organist at Harvard, and as Artist-in-Residence at the Univer¬
sity of Pennsylvania.
Active in the American Guild of Organists, she has served as Dean of the
Northeast Connecticut Chapter and as a judge for competitions at both
regional and national levels. She has been a member of the National
Committee for Organ Improvisation, and appears regularly as a performer
and presenter at AGO conventions.
A prizewinner at international organ competitions (notably Bruges 1976),
Rakich has received particular acclaim for her interpretations of the music
of J. S. Bach. Also a harpsichordist, Christa Rakich is a founding member
of Ensemble Duemila, and performs regularly with The Fanfare Consort. As a
soloist, she performs under the aegis of Independent Concert Artists.
Rakich's performing career has taken her throughout the United States and
Europe. Of her featured concert at the Year2000 National AGO Convention
in Seattle, critics said, "Rakich's wonderfully natural ebb and flow went
right to the music's heart. The urbane charm and wit certainly came
across, asdid justtherightbitof wildness..." [TheAmerican Organist, October
2000]. "Christa Rakich's performance and playing ability were exquisitely
matched to the justly famous Flentrop at St. Mark's Cathedral, Seattle. She
seemed to innately sense the length of phrase for the magnificent acoustic
of this formidable box of a room..." [The Diapason, November 2000].
Released recording include J.S. Bach's Clavierubung III on the Titanic label.
Deferred Voices: Organ Music by Women Composers, and Transcriptionsfrom St.
Justin's, both for AFKA Records, and Christa Rakich in Recital at St. Mark's
Cathedral on the ReZound label. Christa Rakich can also be heard on the 4-
CD set Historic Organs of Connecticut, released in 1997 for the Organ Historical
Society.
Saturday, February 4, 2006
10:00 a.m.
Margaret Comstock Concert Hall
Organ Masterclass
with
Christa Rakich
Alfred Fedak
J. S. Bach
Elliot Eckels
Student of RobertL. Boozman
Louisville, KY
Fanfare on Lennox
Prelude in F, BWV 554
Es ist ein Ros' entsprungen Johannes Brahms
Tuba Time in D Major C. S. Lang
Beckie Henry
AGO member and student of RobertL. Boozman
Louisville, KY
Prelude and Fugue in G Major, BWV 541
Parker Ramsay
Student ofWilma Jensen
Nashville, TN
J. S. Bach
Hymn on Veni Creator Nicholas de Grigny
Plein Jeu
Fugue
Duo
Recit de Cromome
Dialogue sur les grands Jeux
Phillip Brisson
Director of Music, Cathedral of the Assumption
Sub-Dean, Louisvillle Chapter AGO
Louisville, KY
Prelude and Fugue in D Major, BWV 532 J. S. Bach
Shu-Hui Tsai
Graduate student of RobertL. Boozman inorganperformance
University of Louisville
The University of Louisville Concert Organ - Specifications
Steiner (1981) III-60
Pedal
Prinzipal - 16'
Subbass - 16'
Floete - 8'
Oktave - 8'
Choral Bass - 4'
Nachthom - 4’
Blockfloete - 2'
Mixtur - IV
Fagott - 32'
Posaune - 16'
Trompette - 8'
Komett - 4'
Oberwerk (under expression)
Bourdon -16'
Spitz Gedackt - 8'
Viola Celeste - 8'
Viola de Gamba - 8'
Prinzipal - 4’
Traversfloete - 4'
Nasat - 2 2/3’
Blockfloete - 2'
Terz - 1 3/5'
Siffloete -1'
Scharff Mixtur - IV
Dulzian - 16'
Trompette - 8'
Oboe - 8'
Klarine - 4'
Tremulant
32 levels of memory
10 general pistons
6 divisional pistons
Tutti (not adjustable)
Hauptwerk
Gedackt Pommer -16'
Prinzipal - 8'
Rohrfloete - 8'
Spillfloete - 4'
Oktave - 4'
Waldfloete - 2'
Oktave - 2'
Sesqui Altera - II
Scharff - in
Mixtur - IV-VI
Trompette - 8'
Vox Humana - 8'
Positiv
Holz Gedackt - 8'
Quintade - 8'
Prinzipal - 4'
Koppelfloete - 4'
Oktave - 2'
Quinte -1 1/3'
Scharff -m-IV
Rankett Regal - 16'
Krummhom - 8'
Tremulant
Couplers
Oberwerk to Pedal
Positiv to Pedal
Hauptwerk to Pedal
Positiv to Hauptwerk
Oberwerk to Hauptwerk
Oberwerk to Positiv
Both electric and mechanical
coupling action available
The University of Louisville Concert Organ - History
The Comstock Hall pipe organ at the University of Louisville School of Music was
built in 1980 by the Steiner Organ Company, now Steiner Inc. of Louisville. There
are 48 voices (stops) and 60 ranks (sets) of pipes in the instrument. These stops
are playable over three manuals (keyboards) and the pedal, played, of course,
by the performer's feet.
The key action is mechanical or "tracker action," which means that the performer,
through trackers and levers, directly opens the valves which allow the wind into
the pipe. So, like a piano, the performer has a direct connection to the sound. This
is different than at electropneumatic organ, which still has pipes, but in which the
wind is allowed into the pipe by completing an electrical circuit when the key is
depressed.
At one point, when the organ department was especially thriving, the organ
underwent as many as 20 hours of practice a day - about 10 times the use a regular
church organ would get. Needless to say, over time, the instrument began to need
attention.
In the 1990s, electric manual couplers were installed to assist the player in
combining the various manuals together, reducing the stiffness of the key action
and making it easier to play. The keys themselves, made out of wood, had worn
down or had developed grooves in them from the rigorous practice schedule, and
were also resurfaced.
This past year, much has been done to improve the instrument in preparation for
new students and for this year's inaugural Guest Artist and Recital Series. Within
the body of the organ were two large automotive batteries with chargers which
helped to supply the high amperage required by moving the drawknobs (knobs
the performer pulls to select the various sounds). These have been replaced with
rectifiers, which are very reliable and do not have to be changed every few years
as the batteries did. The stop-action controllers were also replaced, making the
system that controls the drawknobs more reliable and much more quiet. These
are controlled by a set of buttons called pistons, which the performer uses to pre¬
set a combination of stops to make changes during a piece. This is how the
organist can make either gradual increases or decreases in sound and make
quick changes within a piece. Additionally, renovation work on the organ has
included recovering of some "winkers" or concussion bellows which are a shock
absorber for the wind system. This adjustment addressed some wind leaks which
had previously created hisses, thereby lightening and evening the key and pedal
touch. Robert L. Boozman, Lecturer in Organ Studies at UofL, recently played
the organ at the School of Music's Faculty Gala and demonstrated the revitalized
instrument in grand style.
The organ will be featured many times this year by faculty, students, and guest
artists, including a concert on March 3 at 8:00 p.m. by Robert L. Boozman, lecturer
in organ studies at the University of Louisville. Please call 502-852-2122 or visit
music.louisville.edu/organ for more information about upcoming organ events.
T fie Organ Guest Artist & Recital Series
presents its final concert of the 2005-2006 season:
Robert L.
Boozman
Lecturer in Organ Studies, University of Louisville
Friday, March 3 at 8:00 p.m.
Margaret Comstock Concert Hall
Program
Choral varie sur le theme Veni Creator
Lo, how a rose e'er blooming
Variations on From Heaven Above
Das Alte Jahr vergangen ist
Toccata, Adagio, and Fugue
Two movements from Music for Children
Pastorale and Final from Sonata No. 1
Maurice Durufle
John Ferguson
Walter Pelz
Johann Sebastian Bach
Johann Sebastian Bach
William Walton
Alexandre Guilmant
Organ Studies atthe University of Louisville
PH: 502-852-2122
music.louisville.edu/organ
music
INIVERSIlYqf LOUISVILLE.
"" ' --
dare to be great
presents
Tyra Blasher,
flute & piccolo
student of Donald Gottlieb
with
Deborah Dierks, piano
Joe Ortiguera, violin
Senior Recital
Saturday Afternoon
February 4, 2006
4:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted, in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Trio Sonata in C Major
for flute, violin, and basso continuo
/ I. Vivace
zi r n. Largo e dolce
III. Allegro
O <-
J.S. Bach
(1685-1750)
Cinq Incantations Andre Jolivet
* .p A. Pour acceuillir les negociateurs - (1905-1974)
et que l'entrevue soit pacifique.
^ 4 B. Pour que l'enfant qui va naitre soit un fils.
ik c - C. Pour que la moisson qoit riche qui naitre des sillons
que le laboureur trace.
"(0 D. Pour une communion sereine de l'etre avec le monde.
"7 E. Aux funerailles du chef - pour obtenir la protection
de son ame.
PAUSE
*8
M
Flute Concerto
I. Amhran
II. Alla Marcia
III. Elegia
IV. Scherzo
V. Amhran
Sonata for Piccolo and Piano
I. with driving force
if jl II. sorrowing
[2_ HI. searching
^ IV. playful
Christopher Rouse
(b. 1949)
John La Montaine
(b. 1920)
This recital is given in partial fulfillment of the requirements
for the Bachelor of Music degree.
PROGRAM NOTES
Trio Sonata in C Major jg Bach
for Flute, Violin, and Basso continuo
Bach's Trio Sonata in C Major is believed to have been written during his
Cothen period (1717-1723), while he served as Kapellmeister in the Court
of Leopold of Anhalt- Cothen. During the Cothen years, Bach composed
numerous secular works that are now considered as the supreme master¬
pieces of the eighteenth century: two of the Orchestral Suites, all six
Brandenburg concerti and as well as concertos for one and two violins.
From these years also date the first part of the Well-Tempered Clavier and the
sensationally experimental Chromatic Fantasie and Fugue for solo harpsi¬
chord.
At the time Bach arrived in Cothen, he had just been released from almost
a month in the Weimar jail where Duke Wilhelm, his previous patron, had
consigned him as punishment for "too stubbornly forcing the issue of his
dismissal" upon signing the more lucrative Cothen contract. Putting his
achievement as a composer of cantatas and his ambitions to develop a
"well-regulated Church music" aside for the length of his employment at
Cothen, a Calvinist court which tolerated no elaborate music in church
settings, Bach was now charged with the development of chamber and
orchestral music to please a cosmopolitan bachelor Prince of age twenty-
three, Prince Leopold.
The Trio Sonata was a popular and highly regarded form at the time,
occupying a position later accorded to the string quartet. This work is
scored for flute, violin, and basso continuo. The continuo part is actually
comprised of two instruments; cello and harpsichord. Their function is as
an accompaniment to the solo voices, with the cello serving to reinforce the
bass line. In the Trio Sonata, the two solo voices - flute and violin, are of
equal importance, and there is musical dialogue between the two instru¬
ments. This work consists of three movements in which fast and slow
movements alternate. This type of sonata was called "Sonata da Chiesa"
or Church Sonata. Perhaps, Bach felt that given the nature and origin of
the theme, this scheme was preferable to the "Sonata da Camera" Chamber
or Court Sonata, which consisted of a set of dance movements.
The vivace first movement is indeed dance-like in character with a bounciness
that continues through the end. Elaborate turns give interesting inflec¬
tions within the lines. The sorrowful largo e dolce second movement could
possibly be a peek into the emotions Bach felt during this time. The Trio
Sonata in C Major ends with another vibrant dance-style piece in triple
meter, quite possibly representing the joy in life that Bach experienced
while working his happiest years in Cothen.
Cinq Incantations Andre Jolivet
A. Pour acceuillir les negociateurs - et que l'entrevue soit pacifique.
B. Pour que l'enfant qui va naitre soit un fils.
C Pour que la moisson qoit riche qui naitre des sillons
que le laboureur trace.
D. Pour une communion sereine de l'etre avec le monde.
E Aux funerailles du chef - pour obtenir la protection
de son ame.
A. In order to welcome the negotiators-and that the interview bepeaceful.
B. So that the child who is going to be bom be a son.
C So that the harvest be rich which will be bom from the furrows that the
laborer marks out.
D. For a serene communion of the being with the world.
E At the funeral of the chief- in order to obtain the protection of his soul.
"The Incantation is the trembling form of Negro refinement, beside which
we are sorcerers' apprentices." (Andre Jolivet)
Incantations marks the beginning of Andre Jolivet's second productive
period and of a long series of flute pieces. It represents his creativity,
anguish, sorrow and hope.
In 1936 he composed a suite of five pieces entitled Incantations, first per¬
formed by Jan Merry at the Societe Nationale in Paris on the 7th of May
1938. With Yves Baudrier, Daniel Lesur and Olivier Messiaen, he had just
founded the Jeune France group. His mother died on the 19th of June 1936,
a few weeks before he began to compose Incantations. It is fascinating,
magical music, expressive and virtuose, profound and noble, described by
the composer as follows:
In 1936 when I wrote Cinq Incantations for solo flute, I
wanted to state the prime importance of the monodic
element in music, i.e. melody meticulously organised from
the point of view both of successive harmony (the se¬
quence of intervals) and of rhythm, volume and pitch. The
only purpose, however, of the carefully measured combi¬
nations of these different elements is to generate musical
feeling and, in the most sensitive (or the "newest") listen¬
ers, a feeling similar to the panic impulses of primitive
man. It was better to achieve this result that I chose the
flute which is the musical instrument par excellence be¬
cause, endowed with life by the breath, man's deepest
emanation, the flute charges sounds with what is both
visceral and cosmic in us.
It is never a pastiche of oriental music nor a reference to the
music of so-called primitive peoples. Repetition no doubt
plays a vital part, as it does in any other operation of a
magical kind, particularly in the first and third incanta¬
tions. In the fifth the repetition, three times, of the intro¬
ductory figure and the concluding statement has a special
feature - in these repetitions added sounds increase the
vitality (which speeds up the listener's psycho-physi¬
ological impulses). The titles indicate the magical appro¬
priation of each Incantation and their form arises from
this appropriation. Pour une communion sereine de l 'etre avec le
monde (For serene communion of the being with the world), origi¬
nally called Pour integrer sa joie dans le grouillement vital
universal (To integrate one's joy in the universal vital teeming), is
one of my essential works, both in its lyrical flow and in
the philosophy which it expresses, similar to Teilhard de
Chardin's when he says: "Matter: matrix of the spirit - Spirit:
superior state of master."
Flute Concerto Christopher Rouse
The initial impression made by Christopher Rouse's new
Flute Concerto. ..is that it's a certifiable hit. The 23-minute,
five-movement work, commissioned jointly by [Carol]
Wincenc and the Detroit Symphony Orchestra, caused
many in the audience to deliver a standing ovation; where
contemporary music is concerned, that sort of reaction is
about as rare as a cat smiling. The tribute was deserved.
The Baltimore-born Rouse, who won the Pulitzer Prize in
1993 for his Trombone Concerto, has crafted a moving work
whose maturity places it well above the superficial sonic
glitter sometimes passed off as worthwhile music as our
century nears its end.
—John Guinn, Detroit Free Press/American Record Guide
A piece of such gigantic emotional proportion; one wonders how the soloist
can sustain throughout the pain and beauty that is emanating from the
score. Christopher Rouse best explains his Flute Concerto as follows:
Although no universal credence for the Jungian concept of
"genetic memory" exists, for me it seems a profoundly
viable notion. Although both of my parents' families
immigrated to America well before the Revolutionary
War, I nonetheless still feel a deep ancestral tug of recog¬
nition whenever I am exposed to the arts and traditions of
the British Isles, particularly those of Celtic origin.
I have attempted to reflect my responses to these stimuli
in my flute concerto, a five-movement work cast in a
somewhat loose arch form. The first and last movements
bear the title "Amhran" (Gaelic for "song") and are simple
melodic elaborations for the solo flute over the accompa¬
niment of orchestral strings. They were intended in a
general way to evoke the traditions of Celtic, especially
Irish, folk music but to couch the musical utterance in
what I hoped would seem a more spiritual, even meta¬
physical, maner through the use of extremely slow tempi,
perhaps not unlike some of the recordings of the Irish
singer Enya.
The second and fourth movements are both fast in tempo.
The second is a rather sprightly march which shares some
of its material with the fourth, a scherzo which refers more
and more as it progresses to that most Irish of dances, the
jig. However, by the time the jig is stated in its most
obvious form, the tempo has increased to the point that the
music seems almost frantic and breathless in nature.
In a world of daily horrors too numerous and enormous
to comprehend en masse, it seems that only isolated, indi¬
vidual tragedies serve to sensitize us to the potential harm
man can do to his fellow. For me, one such instance was the
abduction and brutal murder of the two-year old English
lad James Bulger at the hands of a pair of ten-year old boys.
I followed this case closely during the time I was compos¬
ing my concerto and was unable to shake the horror of
these events from my mind. The central movement of this
work is an elegy dedicated to James Bulger's memory, a
small token of remembrance for a life senselessly and
cruelly snuffed out.
I completed my flute concerto in Fairport, New York on
August 15, 1993. Composed through a joint commission
from Richard and Jody Nordlof (for Carol Wincenc) and
Borders Inc. (for the Detroit Symphony Orchestra), it is
dedicated on the whole to my wife Ann. Its duration is
approxiamtely twenty-three minutes.
Sonata for Piccolo and Piano John La Montaine
John La Montaine studied at the American Conservatory of Music in
Chicago, Illinois. His keyboard skills gained him the position of pianist and
celesta player in Toscanini's NBC Orchestra from 1950-54. Because com¬
position seemed too uncertain as a career, he also studied to become a
stockbroker. In 1959, however, his Piano Concerto (commissioned by the
Ford Foundation) won the Pulitzer Prize. Two Guggenheim Fellowships
and an award from the Academy of Arts and Letters convinced him to
return to composition permanently. His musical interests include sounds
of nature, especially those of birds.
La Montaine's Sonata for Piccolo and Piano, published in 1993, comprises the
traditional four-movement format. The opening movement is in sonata
form, with the first theme in changing meter and a gentle, almost hypnotic
second theme. The second movement, marked "Sorrowing," is a tender and
mournful piccolo melody anchored by parallel piano triads. A most
intimate reflection, it casts the piccolo in a lyrical role with which it is too
seldom associated. The brief, groping third movement, for piccolo alone,
seems to be searching for the right motive with which to continue. It settles
on the ascending sixth, from which a theme is forged to start the finale. The
finale plows playfully through all twelve chromatic keys - subtracting a
flat or adding a sharp - until we return enharmonically to the opening key
of E-flat.
School of
•m lisic
INM'ESilY^lDlJlSVILLl:';
dare (o be gnsa(
■presents
T T • • d
university
Symphony Orchestra
Kimcherie Lloyd, director
with special guests
Scott Moore, violin
Charlie Zhang, ;piano
Saturday Evening
February^, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Wn.com to mr. University or Lowsviux School or Music.
We hope you enjoy tub concert this evening.
Smoking is not permitted in the School of Music building,
in the. unlikely cvc.nl of fire or other emergency, please, walk to the nearest exit.
The use of recording devices and flash photography is stiictly prohibited.
Please silence cell phones, electronic wm r cues and pagers.
Thank you.
University Symphony Orchestra
Kimcherie Lloyd, director
Joe Ortiguera, graduate assistant
Alexandra Ostroff, graduate assistant
Charlie Blanton & Mihaj Spin, managers
First Violin
G erome Stewart t
Juan Carlos Ortega
Scott Moore
Alexandra Ostroff
Mihai Spin
Leslie Heinzen
Gabrielle Boguslaw
Anna Dolan
Jordan Lynern
Alex Peterson
Jedediah Cowart
Second Violin
Joe Ortiguera
Cordia Thompkins
Arezou Etemad
Franzeli Sharp
Nathan Chapman
Elizabeth Wooldridge
Ashley Wolf
Lia Ramirez
EmilyCaudi.il
Headier Norwood
Viola
James Dersch
Monica Clarke
Scott Farley
Felicia Hogan
Alisson Reber
Sarah Speck
Abby Laswel.1
Hannah Turi
Alison Simpson
Britney Whelan
Wliilney Grubb
Dominic Young
Daniel Crawley
t concertmaster
* guest
Cello
Marlene Ballena
Molly Goforth
Kimberly Burger
Clayton Vaughn
Erin Cassel
Charlie Patton
Nicole Boguslaw
Katie Schladand
Audrey Bowlds
Fred Speck
Bass
Nick Wooldridge
Elizabeth Adams
Chris Korenkiewicz
Lauren Taylor
Charlie Blanton
Felice Howard
Grant Jacobs
Alice Markiewicz
Piccolo
J essica Prus
Beth Alexander
Flute
Katie Fondrisi
Demilou DeGuzman
Beth Alexander
Oboe
Grelchen Reiter
Mary Beth Mann
Andy Bucholz
Clarinet
Chris Phillips
Sharon Edmunds
Carolyn Frazio
Adam Tl-iomas
Bassoon
Carrie Baxter*
Jay Coughlin
John Rohner
Horn
Karla Neal
Dominic Rotella
Kate Reyman
Lindsay Pummell
Josh Pollock
Courtney Spragens
Trumpet
John Bryant
Michael Swope
Don Johnson
Zachary Schell
Reid Tanouye
Charles Calloway
Trombone
A udrey Davis
Sarah Finger
Krista Eifler
Brent Crimm
Bass Trombone
D aniel Stull
Tuba
Aaron Gaither
Timpani
Matt Greenwood
Percussion
Matt Greenwood
Brad Buehring
Regan Heckscher
Rodney Younger
Harp
Amy Isbell *
Piano
Caroline Chapman
Austin Echols *
ABOUT THE PERFORMERS
University of Louisville Symphony Orchestra
The? LTniversity Symphony Orchestra is the premiere orchestral ensemble
at the University of Louisville, performing a great variety of orchestral
literature from standard repertoire to music of the twenty-first century.
Each year, the USO presents no less than six concerts including the highly
popular Halloween Spooktacular and the New Music Festival concert which
includes music by guest composers such as Karel Husa, John Corigliano
and Michael Colgrass as well as world premieres by faculty and student
composers. The USO also performs at least one concert per semester of
purely orchestral works. Recent program repertoire has included Elgar's
Enigma Variations, Franck's Symphony in D Minor and Beethoven's Eroicn
Symphony. In addition to its own performance schedule, the USO regu¬
larly joins the University Dance Academy in performance of "Clara's
Dream" from Tchaikovsky's The Nutcracker Suite and the University Opera
Theatre for afully staged production. Recent operas include TheMikndo, The
Tender Land and A Beggar's Opera.
In March of 2007, the University Symphony Orchestra and the University
Wind Symphony will present a concert of works by Grawemeyer-win-
ning composers at Carnegie Hall in New York.
Primarily composed of music majors (undergraduate and graduate) the
USO is open, by audition, to any University of Louisville student.
Kimcherie Lloyd, conductor
Kimcherie Lloyd is the Director of Orchestral Studies and Director of the
Opera Theater at the University of Louisville School of Music. TheOrchestra
has performed for special occasions as diverse as a command performance
for Mikhail Gorbachev to the opening ceremonies for the Kentucky Derby
Festival. Ms. Lloyd has conducted the University Symphony Orchestra
and members of the opera program, in fully-staged performances of
DIALOGUES OFTHE CARMELITES , COS! FAN TUTTl, SUZANNAHl, THE
MAGIC FLUTE, A BEGGAR'S OPERA, THE TENDER LAND and THE MlM\DO
Active in the music community, Ms. Lloyd serves as President of the
College Orchestra Directors Association (CODA) Southeast Division. She
is a founding member of CODA and holds memberships in the Music
Educators National Conference, the Conductor's Guild, the American
Symphony Orchestra League and Opera America.
Charlie Zhang, piano
Zichao (Charlie) Zhang was born in the city of Jiangmen, Guangdong,
China on Augusts, 1990. Charlie moved to the United States in 1990. Before
moving to Chnppaqua, New York last November, he attended Manual
High School and was a pupil of Dr. Vernon Cherrix.
Charlie currently studies with Dr. Frank Levy of the Juilliard School. It is
his desire to enroll in the preparatory department of the Juilliard School
in the fall of 2007. He attends Horace Greeley High School in Chappaqua,
close to his home.
While in Louisville Kentucky, Charlie won the 2005 University of Louis¬
ville Concerto Competition sponsored by the Preparatory Department.
His performance this evening is the result of that competition. Last month
he appeared with the Louisville Orchestra at Whitney Hall as the 2006
winner of the Young Artist Competition sponsored by the Louisville
Orchestra. In addition, he was the Is place winner in the 2005 Bluegrass
Senior Piano Competition sponsored by the Kentucky Music Teachers
Association. He also performed on the Noon Hour Recital.Series sponsored
by WTJOL radio in Louisville.
Charlie's parents also live in Chappaqua, New York, where they are both
physicians.
Scott Moore, violin
Scott Moore is a senior at the University of Louisville. He began violin
studies at the age of four. Scott has won prizes in a number of statewide
competitions and, in 2003, he performed as soloist with the Louisville
Orchestra. In addition to solo playing, Scott is active as an orchestral and
chamber musician; he has been concertmaster of the University of Louis¬
ville Symphony Orchestra and Sewanee Symphony, and has been part of
prize-winning groups in the college division of the Macauley Chamber
Music Competition. Scott is deeply involved in areas outside the main¬
stream of classical music as well, including contemporary classical music
and early music/performance practice. Other musical interests include
folk and world musics, free improvisation, jazz, and composition. As a
freshman, Scott was named one of three "outstanding student composers
by the University of Louisville composition faculty.
Following the close of his UofL career, and before graduate studies, Scott
plans to spend time exploring various interests, including writing, travel,
and permaculture — in addition to musical activities.
PROGRAM
Fanfare for Louisville Wilold Lutoslawski
(1913-1994)
Musica Celestis (1990) Aaron Jay Kernis
(b. 1960)
University Symphony Orchestra Chamber Strings
Concerto No. 1 for Piano and Orchestra
Maestoso
Robert Muczynski
(b. 1929)
Charlie Zhang, Piano
2005 Winner of the University of Louisville
Preparatory Department Concerto Competition
Concerto for Violin in D Major, Op. 35 P.I. Tchaikovsky
Allegro moderato (1840-1893)
Canzonetta. Andante
Finale. Allegro vivadssimo
Scott Moore, Violin
2 006 Winner of the University of Louisville
School of Music Concerto Competition
A Celebration
of the Grawemeyer Awards in Music
University Symphony Orchestra and Wind Ensemble Concert
Sunday, March 4, 2007, 7:30 P.M.
The School of Music in Margaret Comstock Concert Hall
$ 10 General Admission
This concert of Grawemeyer Award-winning compositions
is a preview of the concert that will be performed at
Carnegie Hall on Thursday, March 8, 2007.
Tickets are still available for the Carnegie Hall performance.
For additional information, please call 852-6907.
Friends of the School of Music Fundraiser
"Cabaret at The Jazz Factory"
815 West Market Street
Sunday, March 25
4:00 p.m.
$100 per person
($75 of which is tax-deductible)
For reservations, contact
Barbara Jones
502-891-1555
CHAMBER
MUSIC
SOCIETY
of Louisville
dare to be great
68th Season
Three Hundred Twentieth Concert
of the Society
Chicago Pro Musica
Stefan Hersh, violin
Robert Swan, viola
Richard Hirschl, cello
John Bruce Yeh, clarinet
Dennis Michel, bassoon
Daniel Gingrich, horn
Matthew Hagle, piano
Margaret Comstock Concert Hall
University of Louisville School of Music
Sunday, February 5, 2006
3:00 P.M.
Smoking is not permitted in the School of Music Building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronicwatchesandpagers. Thankyou.
The Chamber Music Society was founded in 1938 by the University of
Louisville and operates in affiliation with the University of Louisville
School of Music.
The Chamber Music Series is dedicated to the memory of
Miriam Weis
(1921-1976)
These concerts are a tribute both to the music community...young and
old, professional and amateur...which received her loving attention, and
to this special music which she treasured.
Acknowledgments
The Chamber Music Society of Louisville is supported by the generosity of
numerous individuals and organizations who join in its purpose ofpresenting
performances of the world's best chamber music by its most renowned
artists. The Board of Trustees thanks all who contribute to this effort and
who help bring meaningful music to us all:
Society Sustainers, Benefactors, Patrons and donors
The Miriam Weis Endowment
The Gerhard Herz Estate
University of Louisville School of Music
Remaining Concerts of the 2005-2006 Season:
March 5th, Berlin Philharmonic Wind Quintet
April 23rd, Emerson String Quartet
music.louisville.edu/chambermusicsociety
Partial funding has been provided by The Kentucky Arts Council,
a state agency in the Commerce Cabinet with support from the
National Endowment for the Arts.
Major funding is provided by those who subscribe to the Society
as Sustainers, Benefactors, and Patrons.
The School of Music Building is wheelchair accessible.
Program
Sonata for Clarinet and Bassoon (1922/1945) * Francis Poulenc
Allegro (tres rythme) (1899-1963)
Romance (andante tr6s doux)
Final (tres anime)
Sonata for Bassoon and Cello
in B-flat Major, K. 292 (1775) *
Allegro
Andante
Rondo: Allegro
Contrasts for Violin, Clarinet and Piano (1938) Bela Bartok
Verbunkos (Recruiting Dance): Moderate, ben ritmato (1881-1945)
Piheno (Relaxation): Lento
Sebes (Fast Dance): Allegro vivace
Intermission
Septet for Clarinet, Bassoon, Horn, Piano,
Violin, Viola, and Cello (1953) *
J = 88
Passacaglia: circa J = 60
Gigue: Jl = 112-116
Sextet in C Major for Piano, Clarinet, Horn,
and String Trio, Op. 37 (1935)
Allegro appassionato
Intermezzo: Adagio
Allegro con sentimento [attacca]
Finale: Allegro vivace, giocoso
* first performances for the Society
The audience is invited to meet the artists following today's concert in
the Green Room behind the stage area.
Ernst von Dohnanyi
(1877-1960)
Igor Stravinsky
(1882-1971)
Wolfgang Amadeus Mozart
(1756-1791)
The Chamber Music Society of Louisville 2005-2006
MEMBERS OFTHE BOARD: Dr. and Mrs. Alton E. Neuradr, Jr.
Ms. Robin Hicks, President Dr. Acton Ostling, Jr.
Ms. Barbara Sexton Smith, Vice-President Mrs. Jacqueline Roslcy
Marilyn Foulke, Secretary Vr. and Mrs. Robert H. Schulman
Mrs. Jane Towery-Woolsey, Corresponding Secretary Alice and Brooks Senn
Mr. Tom Pike. Treasurer Barbara Sexton Smith
Ms. Barbara B. Brick, Executive Committee
Mr. Ben Franklin, Executive Committee
Dr. Acton Ostling, Jr., Executive Committee
Ms. Anne L. Pope, Executive Committee
Dr. Christopher Doane, Ex-Officio
Dr. Douglas Haynes
Mr. Bruce Heim
Ms. Jean Kalkhof
Dr. Brenda E. Kee
Mr. Peter McHugh
Mrs. Sarah Provancher
Mrs. Jacqueline Roslcy
Mr. Jeff Stodghill
Mr. Dallas Tidwell
Ms. Kristin Drown Wingfeld
HONORARY MEMBERS:
Mr. Lee Luvisi
Mrs. Macauley Smith
Mr. Ferd B. Weis
SUSTAINERS:
Dr. and Mrs. Kenton Atwood
Mr. and Mrs. John Bickel
Ms. Barbara B. Brick
Drs. David Bybee and Polly Coombs
Drs. Marie and George Doyle
Mr. and Mrs. Ben Franklin
Dr. and Mrs. Douglas M. Haynes
Mr. and Mrs. Robert Kulp
Bell Miller
Anne L. Pope
Mr. Ferd B. Weis
Mrs. Jane ToweryWoolsey
BENEFACTORS:
Mr. and Mrs. John T. Bondurant
Ms. Alison Ewart and Mr. Paul Vice
Dr. and Mrs. Walter Feibes
Mrs. Emerson Foulke
Dr. Sue McGeehee Gilvin
Mr. Karl C. Gruen
Ms. Ruby E. Hampton
Mr. and Mrs. Jay Harris
Mr. Wallace R. Horine
Dr. Chester C. Kratz
Mr. and Mrs. Robert F. Logsdon
Judith McCandless and Grady Clay
Peter and Carole McHugh
Dr. and Mrs. Condict Moore
Mr. and Mrs. Louis J. Moseson
Mr. and Mrs. Yandell R. Smith
Dr. James and Nan Spalding
Mr. Gene P. Stotz
Dr. and Mrs. Grant Taylor
Mr. and Mrs. Dallas Tidwell
Mr. and Mrs. James R. Voyles
Dr. and Mrs. Richard A. Ward
Dr. and Mrs. Robert L. Weaver
Jonadran and Mardia Ziskind
PATRONS.
Mr. and Mrs. Stuart E. Alexander
Mrs. Charles M. Allen
Mrs. Ethel C. Baer
Carolyn K. Balleisen
Ms. Sara Bein
Mrs. Edith Bingham
Dr. C.W. Blair
Mr. AD. Bos
Ms. Kadiie M. Buchino
John F. Carroll
Dr. and Mrs. Dario A Covi
Frances Cummins
Mrs. William G. Earley
Mrs. Ewing A Fahey
Mrs. M.T. Fliegelman
Mrs. Alan Goldberg
Ms. Mary Louise Gorman
Ms. Kadiy Gundersen
Ms. Marion Harcourt
Ms. Barbara B. Hardy
Mrs. Elizabeth Herz
Ms. Brooke Hicks
Dr. Frederic Hicks
Ms. Robin Hicks
Mr. David A Hoefer
Rose Isetti
Helene Katz
Dr. Brenda Kee
William Kelley III
Dr. Sandor Klein
Ms. Anne Ogden
Ms. Susannah Onwood
Mr. Peter D. Pecere
Mrs. Joan C. Rapp
Dr. and Mrs. Athur Slavin
Mrs. Macauley Smidr
Drs. James and Nan Spalding
Frank J. Swartz
Mr. and Mrs. William Walsh III
Upcoming Events at the School of Music
(All events are admission free and field in Margaret Comstock Concert Hall,
unless otherwise noted. Events are subject to change.)
Monday, February 6 - 8:00 p.m.
Cardinal Singers and University Chorale
Tuesday, February 7 - 8:00 p.m.
Faculty Artist: Leanna Booze, oboe. The program will feature Poulenc’s
Trio for Piano, Oboe, and Bassoon with UofL faculty bassoonist Matthew Karr, in
addition to works by Telemann, Hendrick Andriessen, Antonio Pasculli, and
Carlo Yvon.
Friday, February 10 - 8:00 p.m.
Guest Artist: Will Kimball, trombone. The program will feature the world
premiere of P. Kellach Waddle's trombone duet Kentucky's Winter Shadows, in
addition to works by Gershwin, Tomasi, Leopold Mozart, Thom Ritter-George,
and Bruce Hamilton.
Sunday, February 12 - 3:00 p.m.
Louisville Orchestra featuring guest soloist Orion Weiss, piano, and
Mischa Santora, conductor. Excerpts of works by Mozart and Mendelssohn
will be played by the orchestra with explanations by the conductorabout the
compositional and musical style. Tickets: $22 forgeneral admission; call 502-
584-7777 topurchase. Student rush tickets are available atthedoor20 minutes
prior to curtain for $11; one ticket per student with valid ID, subject to
availability. Free pre-concert lecture at 2:00 p.m. in School of Music Room 125.
Sunday, February 12 - 7:30 p.m.
World Music Series: Celtic Music with John Skelton, flute.
Tuesday. February 14 - 8:00 p.m.
University Jazz Combos ( Malcolm Bird Recital Hall)
Saturday. February 18 - 8:00 p.m.
Guest Artist: Wendy Chen, piano. A perennial favorite at the School of
Music, Chen debuted with the Los Angeles Philharmonic under conductor
Andre Previn at the age of 15. Since then, she has appeared with the Utah
Symphony, the Boston Pops, the Pacific Symphony, the Cincinnati and Balti¬
more Chamber Orchestras, the Florida Philharmonic, the Hartford Symphony,
California’s Chamber Orchestra of the South Bay, the Yakima Symphony, the
Auckland Philharmonia and the Wellington Sinfonia in New Zealand, and the
Orquesta Ossodre in Uruguay.
U of L Music Concert Line
PH: 502-852-0524
music.louisville.edu
The University of Louisville
School of Music
presents the
University Chorus
Justin T. Romney, Conductor
Collegiate Chorale
Kent Hatteberg, Conductor
with
Hanpill Ryu and Justin T. Romney,
Student Conductors
and
Cardinal Singers
Kent Hatteberg, Conductor
Margaret Comstock Concert Hall
Monday Evening
February 6,2006
8:00 P.M.
Smoking is not permitted in the School of Music Building. In the unlikely event of fire or
other emergency, please walk - not run - to the nearest exit. The use of re cot c mg i ei ice,
is strictly prohibited. Please silence electronic watches, phones, and pagers.
UNIVERSITY CHORUS
Sing We and Chaunt It
How Lovely are the Messengers (St. Paul)
Sing Unto God (Judas Maccabajus)
Thomas Morley
(1557/1558 - 1602)
Felix Mendelssohn
(1809 - 1847)
George Frideric Handel
(1685 - 1759)
COLLEGIATE CHORALE
Zadok the Priest (HWV 258)
Ave Maria
Psalm XCV1
Hanpill Ryu, student conductor
Justin Romney, student conductor
G. F. Handel
Javier Busto
(b. 1949)
Merrill Bradshaw
(1929 - 2000)
PA USE
(Five Minutes)
CARDINAL SINGERS
(repertoire to be performed at KMEA on February 10, 2006)
Laudale Dominum (1997)
Blagoslovi, dushd moy&, Ghbspoda (1915)
(AllNightVigil)
Hymne a Saint Martin (1996)
Laudale pueri, Dominum (2003)
Giedrius Svilainis
(b. 1972)
Sergei Rachmaninoff
(1873 - 1943)
Vaclovas Augustinas
(b. 1959)
r --- VytautasMi§kinis
tr (b. 1954)
(C omposedfor Kent Hatteberg and the Cardinal Singers)
Villarosa Sarialdi (Villarosa Sequenses no. 3) (1993)
Thomas Jennefelt
(b. 1954)
El Manisero (1928, arr. 1996) Moises Simons (1889-1945)
arr. Tania Le6n (b. 1943)
And So It Goes (1983, arr. 1992) Billy Joel (b. 1949)
arr. Bob Chilcott (b. 1955)
Peter A. Lovett, baritone
Oiga, compae (1997) C6sar Alejandro Carrillo
(Preludio y fugo sobre un tema de Manuel Briceflo) (b. 1957)
Cardinal Singers
Kent Hatteberg, director
SopranoI
Kelly Ballou
Amanda Tarryn Bryant
Hui-FangChen
Stephanie Mattingly
Alexis Paxton
Soprano II
AlaneHart
Emily A. McCollough
Amy Parker Cuenca
JessicaTowse
Alto I
Kristin Hale
Amanda Harless
Eva Marie Morse
SarahElizabethPatrick
AltoII
Mary Beth Harris
Emily Malone
Emily J. Neubauer
Tamara Stewart
TenorI
Bill Coleman
JoshuaHein
Clayton Rogers
Kevin Sproul
Tenor II
William Thomas Mills II
Justin T. Romney
HanpillRyu
SeungYongShin
Bass I
James R. Cooper
Peter A. Lovett
BenjaminD. Powell
Christopher Shortt
Bass II
Austin H. Echols, Jr.
R. Andrew Fowler
Brett McDermid
BenRiley
Barrett Smith
Collegiate Chorale
Kent E. Hatteberg, director
Austin H. Echols, Jr., accompanist
SoDranoI
TenorI
Kelly Ballou
Ricky Case
Amanda T arryn Bryant
Bill Coleman
Hui-FangChen*
JoshuaHein
Cassie Lyles
Stephen Slaton
Ellen Whittaker
JayWollmann
Soprano II
Tenor II
AlaneHart
Adam Hardin
Rianne F. Marcum
Justin T. Romney *+
Claire Mosley
HanpillRyu*
Jessica Towse*+
SeungYong Shin*
Kevin Sproul
Alto I
Kristyn Brown
Bass I
Kristin Hale
BenjaminD. Powell*
Amanda Harless
Christopher Shortt
Meehan Laurel Patrick
Justin Wilkey
Sarah Elizabeth Patrick
MycoTran
Bass II
Amanda Walker
Austin H. Echols, Jr.
R. Andrew Fowler
Alto II
Ben Riley
Maty Beth Harris+
Brad Ritchie
Margot McGowen
Barrett Smith+
Emily J.Neubauer
Paula Rada
*graduate students in
choral conducting
+section leaders
University Chorus
Justin T. Romney, director
Kent Hatteberg, accompanist
Soprano
Julie Bell
McCall Alicen Cruse
Sandra Duran
LaraFejes
Libby Ford
AshleyD. Gutierrez
ChristinaFlatfield
Jessica Heard
Hilaiy Hilliard
Lindsey Honaker
MelissaRenn
Katharine Welsh
Tenor
Billie Bradford
Jonathan Kohne
Anthony Olympia
Russ W. Wallace
Matt Wallen
Alto
Jennifer Baker
Amelia Cooley
PaulaDowdy
Megan Johnson
AlyssonRiffe
Lauren Scott
Kate Sureck
Holly Thomerson
Bass
Dustin E. Baron
William Clark
Gary Clark
Aaron Craker
Chase Dabney
Will Roberts
Chris Seal
Justin Shircliff
University of Louisville School of Music
University Chorus, Collegiate Chorale,
and
Cardinal Singers
Monday, February 6, 2006
Texts, Translations, and Notes
Sing We and Chaunt It Thomas Morley
In the latter half of the sixteenth century two highly influential collections of Italian madrigals crossed
the English Channel to the British Isles: Musica Transalpina and Italian Madrigals Englished. These
books contained numerous scores from popular Italian composers which the English composers imitated
and even copied in their own compositions. These madrigals, balletti, and canzonette were received so
well by the English that by the end of the 1590s, most significant English composers were caught up in
the madrigal craze; Thomas Morley (c. 1557-1602) was no exception. His short canzonet Sing We and
Chaunt it, written in c. 1595, remains popular among madrigalists of the present day and is often
associated with madrigal dinners, festivals, and celebrations.
Sing we and chaunt it, while love doth grant it, fa la la la...
Not long youth lasteth, and old age hasteth;
Now is best leisure to take our pleasure, fa la la la...
All things invite us, now to delight us, fa la la la...
Hence care be packing, no mirth be lacking;
Let spare no treasure to live in pleasure, fa la la la...
How Lovely Are the Messengers (St. Paul) Felix Mendelssohn
Saint Paul is one of Felix Mendelssohn’s great works that continues to be performed and recorded
around the world. It was composed ten years earlier than his more popular oratorio Elijah, but even at
the young age of twenty-six he was able to create a work that was immediately popular. After the
work’s premiere on May 22, 1836, at the Lower Rhine Festival in Diisseldorf, Mendelssohn himself
conducted many performances of it abroad. He traveled to England, Scandinavia, the Netherlands,
Poland, Russia, and the USA.
The story of Paul as told in Mendelssohn’s oratorio is found in the New Testament. The work is divided
into two movements with three main episodes spread over the entire two movements. The first episo e
relates the martyrdom of Stephen, the second recounts the conversion of Saul, and the final episode
consists of Paul’s subsequent ministry. It is at the beginning of the second movement that the
congregation (the choir) sings How Lovely are the Messengers to Paul, demonstrating their accep ance
of him as their teacher and “ambassador.”
How lovely are the messengers that preach us the gospel of peace!
To all the nations is gone forth the sound of their words,
throughout all the lands their glad tidings.
1
Sing Unto God {Judas Maccabceus )
Georg Frideric Handel
In eighteenth century England, oratorios (along with operas) were highly fashionable social/cultural
events and composers like George Frideric Handel were renowned for their large scale sacred
compositions. Handel’s most enduring oratorios include Messiah, Samson, Saul, and Judas Maccabeus
Judas Maccabeus was composed in July and August of 1746, making it one of the nine last oratorios of
Handel’s life. The oratorio is based on the story of the the Maccabaean Revolt in the second century
B.C. It is part of the history of the Ptolemaic and Seleucid Empires. Judas Maccabeus follows the
story from the death of Alexander the Great in 323 B.C. up until Judas’s march on Jerusalem in 164
B.C. The libretto was supplied by Rev. Thomas Morell, who later provided Handel with three other
librettos (he also left a fascinating account of his collaboration with the composer).
Handel's great work was first performed at the Theatre Royal, Covent Garden, on April 1, 1747 as part
of his annual Lenten season of oratorios. By the time of Handel’s death in 1759, Judas Maccabeus had
become the composer’s second most popular oratorio, having received 33 London performances under
the composer’s supervision (Messiah had 36). Sing Unto God comes in the third act of the work after
Judas has won the battle and returned triumphantly. The people of Israel sing to God and praise Him in
rejoicing.
Sing unto God, and high affections raise,
To crown this conquest with unmeasured praise.
Zadok the Priest (HWV 258)
G. F. Handel
After the sudden death of King George I in June 1727, the new king and queen (George II and Caroline)
chose Handel to compose music for their coronation. For this festive occasion, which took place on
October 11, 1727 in Westminster Abbey, Handel composed four anthems, including Zadok the Priest.
B ®,| ater lncor P orated much of the music from the anthems into his oratorios Esther (1732) and Deborah
The music of Zadok the Priest certainly matched the grand nature of such a festive ceremony. The
orchestral forces are large by Baroque standards, with five string parts (three violin parts), oboes,
assoons, three trumpets, timpani, and organ and a chorus that at times splits into seven parts. The
6m 1S 1 , ee mosdy homophonic sections, opening with a long string introduction featuring violin
n! 0 ? e * t T Ult,1OU ? e . ntrance 0f the Ch0rus ’ trumpets ’ wo °dwinds, and timpani. The
has been nerfn ^ ^ ° apter op tiie First Book °f Kings. Since its composition, Zadok the Priest
nas been performed at every coronation service in England.
Zadok the priest, and Nathan the prophet anointed Solomon King
And all the people rejoiced, and said:
God save the King! Long live the King! God save the King!
May the King live forever, Amen.
Allelujah, Amen.
Ave Maria
Javier Busto
medicafdocto^from 0 ValladnHH^f^^^ “ theBasque Cou ntry of Spain in 1949. He graduated as a
intemationallv as a rn 1 Umversity 311(1 works as a family doctor in Lezo (Gipuzkoa). Known
the fourth World sZZ^ 7° M a Ch ° raI COnductor ’ he ** Presented his compositions at
y posium on Choral Music in Sydney Australia in 1996, and was guest conductor of
the "Tokyo Cantot” in 2000. His choirs have won first place awards in France, Italy, Austria and
Germany. Busto has served on the jury of composition and choral competitions in Spain, France iSv
and Japan. His compositions are published in Sweden, Germany, Spain and the US.
Ave Maria is one of Busto s most popular short choral works. It is scored for chorus and oman ad
libitum, biit is usually heard a cappella.
Ave Maria, gratia plena,
Dominus tecum,
benedicta tu in mulieribus,
et benedictus fructus ventris tui Jesus.
Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae.
Amen.
Hail Mary, full of grace,
the Lord is with thee,
blessed art thou among women,
and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God,
pray for us sinners,
now and at the hour of our death.
Amen.
Psalm XCVI
Merrill Bradshaw
Merrill Bradshaw entered Brigham Young University in the fall of 1947 to study music and English
after turning down a full-ride scholarship to the University of Wyoming in engineering. Dr. John R.
Halliday, a professor at the music school at BYU, became an important mentor for him during his
undergraduate studies. Dr. Halliday let Merrill practice on his studio piano, which he did from 4:30 to
7:30 every morning. He had never had harmony or theory instruction, but picked it up quickly. After a
two and a half year interruption of his collegiate studies to serve a mission for the LDS church in
Switzerland, he auditioned and was accepted into the A Cappella Choir at BYU. Under the direction of
Newell Weight, he learned much about choral music and rehearsal technique that influenced him greatly
in his later years writing choral music. He also met and married Janet Spilsbury, who sat next to him in
the choir. He was highly influenced by studies with Leon Dallin and Crawford Gates (BYU), Carl
Fuerstner, Hubert Kessler, and Claire Richards (University of Illinois). Twice he attended the University
of Illinois, once from 1955-1956 to obtain the Master of Music Degree in composition, and again from
1961-1962 for his Doctor of Musical Arts Degree, with his thesis on Anton Webern’s early works.
Good relations with John Halliday aided Merrill in getting hired at BYU, where he taught for 37 years.
He had an especially good relationship with Ralph Laycock, long-time conductor of the orchestra, who
premiered many of MerriH’s orchestral works, and Ralph Woodward, conductor of the A Cappella
Choir, who did the same for many choral works. He loved the atmosphere at BYU, the opportunity to
influence young LDS composers, and the fine working relationship he had with so many colleagues
there. He stayed abreast of his field, and was especially forward-looking with computer technology,
becoming extremely proficient with the Finale program for musical composition. His works include
more than 200 compositions, ranging from simple songs and piano pieces to symphonies and oratorios.
His most famous composition is his sacred work Restoration.
Psalm XCVI was written in 1984 as part of Bradshaw’s three psalms. It is an exciting piece in t ee
sections; the first section is in three parts as well. The opening of the work is joyful and energetic as t e
text shimmers out from the chorus in rapid independent rhythms. These rhythms cu mina e in
glissando slide up to a stunning B major chord. The beginning of each of the t ee pa i s o
section starts similarly with the text shooting out from the choir while their respec ive moves
Jffer somewhat. The second section is “Much slower,” and much roa er. ^ of t ^ e
." "y divides the p ' v„-,:ic tn a frenzv in the last section
third
'pnomcaily and divides the lower pans irom me f • fhe i ast section
section as well as fast and independent rhythms. The music boils to a frenzy in the
db well as laSl dllU. lliucpcnuwn .
characterized as “Tumultuous and Noisy,” and to a triumphant B major ending.
3
Sing unto the Lord a new song; sing unto the Lord all the earth;
Sing unto the Lord a new song; bless His name,
For the Lord is great, and greatly to be praised. (1-4)
Honor and majesty are before Him: strength and beauty are in his Sanctuary. (6)
0 worship the Lord in the beauty of holiness: fear before Him, all the eaith. (9)
Let the heaven rejoice, and let the earth be glad;
let the sea roar and the fullness thereof.
Let the field be joyful, and all that is therein:
Then shall all the trees of the wood rejoice before the Lord:
For He cometh to judge the earth.
Sing to the Lord a new song! (11-13) (Psalm 96)
Laudate Dominum (1997) Giedrius Svilainis
Lithuanian composer Giedrius Svilainis graduated in 1998 from the Lithuanian Academy of Music,
where he studied choral conducting with Jurijus Kalcas (1992-98) and composition with Osvaldas
Balakauskas (1994-98). In 1994, he was awarded 3rd Prize at the Juozas Naujalis Contest for young
choirmasters in Vilnius. In 1994 he became choirmaster of the Vilnius mixed choir and leader of the
Skroblas mixed choir, and since 1996 has been a member of the Jauna muzika chamber choir, conducted
by Vaclovas Augustinas. In 1994-97, he organized Young Composers’ Days in Panevezys, and
presently is one of the organizers of Youth Chamber Music Days in Druskininkai. In 2004 he became
artistic leader of the State Song and Dance Ensemble Lietuva.
The works of Svilainis were featured at the contemporary music festivals in Lithuania (Kopa, 1994;
Leliumai, 1997; Musica+, 1997; Youth Chamber Music Days, 1995, 1998-2002, 2004; Jauna muzika/
e-muzika, 2002; Gaida, 2004) and the international choral festivals in Rottenburg (1995), Salzburg
(1997), Rome (2002), and the J.S. Bach and B. Bartok Festival (Italy, 2000). Featuring his choral
compositions O quam tristis and Laudate Dominum, the Vilnius-based chamber choirs Psalmos and
Brevis were prizewinners at the international choral contests in Switzerland, Austria, and Italy.
Probably the most important part of the composer’s oeuvre comprises sacred choral works which have
been performed by numerous choirs from Lithuania and abroad. Svilainis strives to write expressive,
colorful and effective works, often blending serious and popular music idioms. The Collegiate Chorale
performed his O quam tristis for mixed choir at the New Music Festival in 2000.
Laudate Dominum , composed for six-part choir, is in five distinct sections. Its rhythmically-charged
opening alternates between sung and shouted text over changing time signatures. A brief five-voice
fiigato follows, featuring a subject made up largely of leaps of fourths and fifths, then combining voices
antiphonally in parallel fourths and fifths. The third section, rooted in Gregorian chant, features first the
tenors, followed by sopranos in organum-like homophony. The lyrical fourth section builds to forte,
then fades as the text is whispered in the women’s voices. The rhythmic Gloria Patri section begins
pianissimo in the men’s voices, accompanied by tambourine, while the whispers dwindle. As the
women s voices join the men, the intensity builds to a joyous fortissimo conclusion.
Laudate Dominum omnes gentes; O praise the Lord, all ye nations;
laudate eum, omnes populi. praise him, all ye peoples
Quoniam confirmata est For bestowed has been
(super nos misericordia ejus.) (upon us his loving kindness.)
Et ventas Domine manet in aeternum. And the truth of the Lord endures for ever.
ona patri et Filio, Glory be to the Father, and to the Son,
et Spintui Sancto, an( q t0 t fo e gpj r j t
Laudate Domino. 0 praise the Lord.
4
Blagoslovi, dushe moya, Ghospoda (All-Night Vigil) (1915) Sergei Rachmaninoff
Sergei Rachmaninoff composed the All-Night Vigil in less than two weeks in January and February
1915. The work is dedicated to the memory of Stephan Smolensky, under whom Rachmaninoff had
studied ancient chant. The work, also known as the Vespers, is a setting of chants from three separate
services - Vespers, Matins, and Hours - to be performed on the eve of holy days. It consists of fifteen a
cappella movements, with six movements based on znamenny chant (7, 8, 9, 12, 13, and 14), two on
“Kiev” chant (4 and 5), two on '‘Greek” chant (2 and 15), and five original but heavily chant-influenced
sections (1, 3, 6, 10, and 11). The work, lasting approximately 60 minutes, was premiered in Moscow
on March 10, 1915 under the direction of Nicolai Danilin, and was performed five more times within the
next month. It is considered by many as the pinnacle of Orthodox church music.
With the increasing turmoil of the Bolshevik Revolution in 1917, two years after the premiere of the All¬
plight Vigil, Rachmaninoff emigrated to New York. The Liturgy was banned in Russia for some seventy
years; therefore, performances of the work were rare. All-Night Vigil was not recorded until 1957,
several years after Rachmaninoffs death.
Blagoslovi dushe moya, Ghospoda is the second movement of the All-Night Vigil. Like much of the
work, it is largely homophonic, tonal in harmony, with mostly stepwise motion. The voices are split up
to eight parts, melodies are set against sustained notes and chords, parallel voice leading is common, and
the number of voices changes constantly and dramatically. It is set for alto solo and chorus, but in our
performance the alto solo is performed by the entire alto section. Rachmaninoff exploits the varying
ranges of the choir, from four-part women over a drone in the first tenor, to the use of basso profundo
notes coming to rest at a low C at the close of the movement.
Blagoslovi, dushe moya, Ghospoda.
Blogosleven yesi, Ghospodi.
Blagoslovi dushe moya, Ghospoda.
Bozhe moy, vozvellchilsia yesi zelo.
Blagosleven yesi, Ghospodi.
Vo ispovedaniye i v velelepotu obleksia yesi.
Blagosleven yesi, Ghospodi.
Na gorah stcmut vod'i
Divna dela Tvoya, Ghospodi.
Posrede gor proydut vodi.
Divna dela Tvoya, Ghospodi.
Fsia premudrostiyu sotvoril yesi.
Slava Ti, Ghospodi, sotvorivshemu fsia.
Bless the Lord, O my soul.
Blessed art Thou, O Lord.
Bless the Lord, O my soul.
My Lord, how great Thou art.
Blessed art Thou, O Lord.
Thou art clothed with glory and majesty.
Blessed art Thou, O Lord.
The waters stood above the mountains.
Glorious are Thy works, O Lord.
The waters flowed through the mountains.
Glorious are Thy works, O Lord.
In wisdom hast Thou made them all.
Glory to Thee, O Lord, who has created all.
Hymne a Saint Martin (1996) Vaclovas Augustinas
Vaclovas Augustinas graduated from the Lithuanian Academy of Music in choral conducting (1981) and
in composition (1992), where he studied under Professor Julius Juzeli. From 1980 to 1992 he wor e a
the “Azuoliukas” Music School and since 1992 has directed the famed Vilnius Mumcipa c oir
Muzika, an ensemble that appeared at the 5 th World Symposium on Choral Music in ot ter ^ . ■ - n
|n 1993 he participated as a guest conductor in the Swedish National Chora on pedagogical
^jo. Since 1996 he has been a professor at the Lithuanian Music Aca emy an ^ ^
niversity, teaching choral conducting, choral arranging, and ear training an «pj or j]ege Vocal
w °n several national and international competitions in choral composition, including Norn g
de Tours” in France and the Lithuania National Song Festival Award.
5
Hymne a Saint Martin was the third prize winner in the International Competition of ph
Composition “Florilege Vocal de Tours” in 1996. The piece was written on the occasion of the
anniversary of the death of Saint Martin of Tours, patron of France, father of monasticism in G l
the first leader of Western monasticism. He founded the famous Abbey of Marmontier near Tours' ^
was known as a miracle worker during his life, and was one of the first non-martyrs to be
venerated as a saint. In France he has always been one of the most popular saints; his honorary f ° * C
in the Roman Catholic Church calendar is November 11. The Cardinal Singers had the priv'l ^
singing this piece under the composer’s direction in a sacred concert during the International Ch |5
Choir Competition in Marktoberdorf, Germany, where he was serving on the adjudication iurv u
Choral Department commissioned Mr. Augustinas to compose a setting of Lux Aeterna which ™
premiered by the Collegiate Chorale in at the New Music Festival in November 2004.
0 virum ineffabilem, nec lab ore victum,
nec morte timendum, qui nec mori timuit,
nec vivere recusavit, alleluia.
Oculis et manibus in caelum semper intentus,
in victum ab oratione spiritum
non relaxabat, alleluia.
Martinus Abrahae sinu laetus excipitur:
Martinus, hie pauper et modicus,
caelum dives ingreditur,
Hymnis caelestibus honoratus. Alleluia.
Oh, man unsullied and invincible by work,
fearless of death, who hasn ’t dread of death,
not declined of life, alleluia.
Eyes and arms always turned to the heavens,
not overcoming by the spirit of prayer,
and not wearied, alleluia.
Martin, beaming with joy of Abraham,
Martin, he is poor and modest,
stepping rich to the heavens,
honored with hymns of heaven. Alleluia.
Laudate pueri, Dominant (2003) Vytautas Mi J nis
(composedfor Kent Hatteberg and the Cardinal Singers of Louisville)
^ AZU ° liukaS B °^ C “ at ** of seven, and
Music in 1976 He condnet h +h v ^ U f ted 3S a C ^ oral Conductor from the Lithuanian Academy of
seveJalyels! and won “ State ^ Vocal E ^mble Museum musicu !for
choirs. He is* currently ProfewT^fru*" s a * numerous national and international competitions with the
as President of the Lithuanian Choral T T° ra ° at — Eitbuanian Academy of Music. He senes
Lithuanian Choral Festival. He ha-1 J 110 ” 311 18 tbe Artistic Director and Chief Conductor of the All-
in Lithuania and abroad and ha-; fr held seminars on the music education and conducting
composer, adjudicator, iid advisor ^MosfreShf “ W&0ma f Qd intemationai choral events as
Bayensche Musikakademie Marktoberdorf in h engaged 38 composer-in-residence at the
motets, thirteen masses, a Magnificat and Germany - Hls compositions include over 100
published in Lithuania as well as* in Fnmce, Ge^^ Hl ' S *
In 2003, Professor Miskinis dedicated ~
Singers. The School of Music’s choral He ' * & PU V‘ 1 ' ^ominum to Dr. Hatteberg and the Cardinal
Miskinis: the Nunc Dimittis for the Colie ^ + rn! 1 * ^ as P rev i ous ty commissioned two works from Mr-
service and contributions to the Universitv nf f ^ in 2002 111 honor of Dr - Herbert Koerselman’s
Life, which was premiered in July 2004 h th °p IS ^. e 35 Eean of the School of Music, and Ever In My
Bremen, Germany in the presence of the J LardmaI Sin S er s at the International Choir Olympics in
jury in competitions entered by the Cardinal^!!! S'. Ma ™ s has ™ occasions served on the
Harmonic Festival in Lindenholzhausen p P m ° er ®- Th e y performed Laudate pueri, Dominum at the
outstanding interpretation of a world premiere* 111311 ^ ^ ^ were awarded a special prize for the
6
fZds, sometimes imitative*, and^eSST
voi ees. A series of major keys, beginning in G major, then moving tough I d flat b“ at G T O
■»> Wtdn^b T7 * e . trium P h “‘ exultation of the Psalm text
"or! add flavor to the harries ” ^ “> -Perimposed
Landate, pueri, Dominum;
laudate nomen Domini.
Sit nomen Domini benedictum
ex hoc nunc et usque in saeculum.
A solis ortu usque ad occasum
laudabile nomen Domini.
Praise, o servants of the Lord,
praise the name of the Lord.
Let the name of the Lord be praised,
both now and evermore.
From the rising of the sun to the place where it sets,
the name of the Lord is to be praised.
Excelsus super omnes gentes Dominus,
et super caelos Gloria eius.
Quis sicut Dominus Deus noster,
qui in aids habitat,
et humilia respicit
in caelo et in terra?
The Lord is exalted over all the nations,
his glory above the heavens.
Who is like the Lord our God,
the one who sits enthroned on high,
who stoops down to look
on the heavens and the earth?
Suscitans a terra inopem,
et de stercore erigens pauperem,
ut collocet eum cum principibus,
cum principibus populi sui.
Qui habitare facit steilem
matrem filiorum laetantem.
He raises the poor from the dust
and lifts the needy from the ash heap;
he seats them with princes,
with the princes of their people.
He settles the barren woman in her home
as a happy mother of children.
Psalm 113
Villarosa Sarialdi (Villarosa Sequenses no. 3) (1993) Thomas Jennefelt
Thomas Jennefelt was bom in Huddinge, Sweden. He studied composition with Gunnar Bucht and Arne
Melinas at the Royal College of Music in Stockholm from 1974 to 1980. He was a choral singer for
many years, and in his oeuvre there is a noticeable concentration on vocal music, ranging from choral
music to opera. An early success among his choral works was Warning to the Rich from 1977, which
has since been performed all over the world. Another of his choral works, O Domine, written in 1983, is
also widely popular. Dichterliebe (L-X) was completed in 1990 and the Swedish Radio Choir gave the
premiere performance the same year.
In recent years Jennefelt has been involved in several musical drama projects. He has written incidental
music to productions at the Royal Dramatic Theatre and in 1985-86 he composed the radio opera Albert
ond Julia. The full-length opera Gycklarnas Hamlet (The Jester's Hamlet) was written in 1987-89,
commissioned by the Gothenburg Opera and first performed in December, 1990. His chamber opera
Parkosten (The Vessel), which he composed in 1993-94 to his own libretto, was premiered in
Copenhagen in 1994, and his orchestral work Musik vid ett berg (Music by a Mountain), was S IV ^
premiere performance in October, 1992. Jennefelt’s chamber music includes Musik till en
htedralbyggare (Music to a Cathedral-Builder) from 1984, Far vidare fardman (Continue on your
T?' Travellers) for mezzo-soprano, baritone, cello and piano, which was complete in , sn
sjnng sextet Svarta spar (Black traces) from 1990. Jennefelt was chairman of the Society o
Composers from 1994 to 2000.
7
a • i qq a Instead of being governed by the interpretation of a text,
Villarosa sarialdi was composed m • needs of the c hoir and its voices. He thus first
Jennefelt wanted his composition to be P removing any issues of linguistic meaning or
wrote the music, then wrote his own or Latin, but in fact means nothing at
Ori V idi anoori vidi anori vidiri oriano avi anori vidia avidi.
Ano oro ori ano, ano ari.
Veni arisao, sao, sao, sari, sari, sao, sao,
sarialdi, sarialdi, sari sari,
sarialdi villarosa, villarosa augen tauri,
intrevi falavi no, falavi, falivi no.
Arimalorio, arimalorio.
Arima lotidiante forum,
queria et falavino augem,
locus, locus vianovo, sulaterna vexitilla
arima lotidiante forum.
Queria et falavino augem,
locus, locus vianovo sulaterna vexit ilia traudi corum alustari,
via novo via,
intrevi falavi no,
augem pulsarialdi locus et sambandi
nopulsasarialdi helenami.
Novo, novo,
Arimalori, loriosa augem pulsari locus locus
avendi novo larem viam.
Avendi novo viam, avendi novo viam.
Lao.
(meaningless text by Thomas Jennefelt)
El Manisero (1928, arr. 1996) Moises Simons, arr. Tania Leon
Moises Simons, a native of Havana, Cuba, was widely known in Caribbean countries and Latin America
as a composer, bandleader, and pianist. El Manisero, his most famous song, was supposedly compose
late one night in 1928 on a napkin while he was in a Havana tavern, having been inspired by a passing
peanut vendor who was singing a pregon Q ingle) to sell his cucuruchos de mam (paper cones filled wit
peanuts).
Composer and conductor Tania Leon, also a native of Havana, came to the United States in 1967,
becoming a founding member and first musical director of the Dance Theatre of Harlem in 1969. She
has since been active as a composer and conductor, and has served as an advisor to numerous arts
organizations. Her opera Scourge of Hyacinths has received over 22 performances in Germany,
Switzerland, France and Mexico. Based on a radio play by Nobel Prize-winner Wole Soyinka, Scourge
of Hyacinths was commissioned in 1994 by the Munich Biennale, where it won the BMW Prize as best
new opera. In 1998 she was awarded the New York Governor’s Lifetime Achievement Award. She has
received Honorary Doctorates from Colgate University and Oberlin College and awards from the
American Academy of Arts and Letters, National Endowment for the Arts, Chamber Music Amenca,
NYSCA, Lila Wallace/Reader’s Digest Fund, ASCAP and Koussevitzky Foundation, among others. In
1998 she held the Fromm Residency at the American Academy in Rome. She was a Visiting Lecturer at
Harvard University and Visiting Professor of Composition at Yale University.
8
M S. Leon arranged El Manisero in 1996 for Chanticleer, who recorded
Wondrous Love. The arrangement is in twelve parts, with ostinato bass
among tenor and alto parts, supporting the melodic
parts.
Mani, mam, mam
Que si te quieres por el pico divertir,
Comprame un cucurichito de mam.
Mam, mani, mani
Caserita no te acuestes a dormir,
Sin comer un cucurucho de mani.
Que calentico y rico esta
Ya no se puede pedir mas.
Ay caserita no me dejes ir
Porque despues te vas a arrepentir
Y va ser muy tarde yd.
Manisero se va
Caserita no te acuestes a dormir,
Sin comer un cucurucho de mani.
Cuando la calle sola esta
Casera de mi corazon,
El Manisero entona su pregon
Ysi la niha escucha mi cantar
Llama desde su balcon.
Dame de tu mani
Que esta noche no voy a poder dormir
Sin comer un cucurucho de mani.
Mani, mani, mani...
(Text by Moises Simons)
And So It Goes (1983, arr. 1992)
it on their 1997 compact disc
lines, vocal percussion sounds
material, found mostly in the soprano
Peanuts, peanuts, peanuts.
So if you want through your mouth to have fun,
buy me a little bag of peanuts.
Peanuts, peanuts, peanuts.
Little housewife don’t go to sleep tonight
without eating a little bag of peanuts.
They are so warm and delicious
that one can't ask for more.
Ay, little housewife don 7 let me go
‘cause then you ’ll be sorry
and it will be too late.
Peanut vendor is leaving!
Little housewife don 7 go to sleep tonight
without eating a little bag of peanuts.
When the street is deserted
little housewife of my heart,
the peanut vendor sings his song
and if a little girl hears my singing
she beckons from her balcony.
Give me some of your peanuts
‘cause tonight I won 7 be able to go to sleep
without eating a bag of peanuts.
Peanuts, peanuts, peanuts...
(English translation by Tania Leon)
Billy Joel, arr. Bob Chilcott
Pianist, singer, and songwriter Billy Joel is well-known to audiences of popular music around the world.
His early career included stints with the rock band The Echoes, which was later transformed into The
Hassles, and Attila, a duo with drummer Jon Small. He attained stardom as a solo performer in the
1970’s with such hits as Piano Man (1973) and Just the Way You Are (1978), from the album The
Stranger. A string of hits including My Life, Big Shot, Honesty, You May Be Right, Uptown Gir , e
Her about It, Leave a Tender Moment Alone, An Innocent Man, and The Longest Time have kept lm at
the forefront of the pop scene.
Joel wrote And So It Goes in 1983 and recorded it on his 1989 album Storm Front. Bob Chilcottformer
member of the King’s Singers and an active choral arranger and conductor in Britain, arrange
Parts for the King’s Singers Anniversary Jubilee celebration in 1992.
9
Cesar Alejandro Carrillo
Oiga, compae (1997)
(Preludio y fugo sobre un tema de Manuel Briceno)
Cesar Alejandro Carrillo graduated from the Institute Universitario de Estudios Musicales in Caracas
receiving his “license in music” with emphasis in choral conducting. He has done special studies with
diverse international conductors such as Robert Sund (Sweden), Vic Nees (Belgium), Alice Parker
(U.S.A.), and Emani Aguiar (Brazil). He studied composition with renowned Venezuela pedagogue and
composer Modesta Bor.
Mr. Carrillo is founder and conductor of Cantarte Coro de Camara and assistant conductor of Orfeon
Universitario de la UCV. Cantarte was chosen to perform at the Musica Popular Caribena in the
Festival America Cantat III, celebrated in Caracas in 2000. He is in demand as an adjudicator and guest
conductor. He has directed important choral gatherings both in Caracas and surrounding areas, and has
represented Venezuela internationally through concerts and seminars in Europe, Asia, and America. He
is considered one of Venezuela’s most important composers and arrangers, and his works have received
numerous prizes in composition contests.
Volume Three of the book Choral Music of Latin American Authors contains Mr. Carrillo’s choral
works to date. His music is published by the Santa Barbara Music Publishing and earthsongs.
Llora, llora, guitarrita,
acompaiia mi dolor,
acompahame, se robaron
mi burrita, mi cobija,
mi machete y mi mujer.
Oiga, compae, que mire como son las cosas,
caramba se robaron mi burrita,
mi cobija, mi machete y mi mujer,
ay! compae, caray! ay! mi compae.
Esta si que es una lava,
caramba, que no la puedo entender,
compae, que se roben mi burrita, mi cobija,
mi machete y mi mujer.
Que mire como llora, llora,
llora guitarrita mi dolor,
se robaron mi burrita,
mi cobija, mi machete y mi mujer.
Caray!
It is crying, crying, my guitar
accompanying my pain,
accompanying me, they have been stolen,
my she-donkey, my blanket,
my machete and my woman.
Hear my friend, look how things are,
Heck! They have been stolen, my she-donkey,
my blanket, my machete and my woman,
oh my friend, caray! Oh my friend!
Yes, this is a huge problem,
Heck! I cannot understand this,
my friend, that my she-donkey, my blanket,
my machete and my woman have been stolen.
Look how it cries, cries,
my guitar cries my pain,
they have been stolen: my she-donkey,
my blanket, my machete and my woman.
Caray!
10
music
IMVERSIlYqf IOUISVILUE
^ --
dare to be great
presents
Leanna Booze, oboe
assisted by
David George, piano
Matthew Karr, bassoon
Faculty Recital
Tuesday Evening
February 7, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pacers. Thank you.
PROGRAM
Ballade for Oboe and Piano (1952)
Hendrik Andriessen
(1892-1981)
Fantasy No. 10 in F-sharp Minor
A tempo giusto
Presto
Moderato
Georg Phillip Telemann
(1681-1767)
Concerto sopra Motivi dell'opera
La Favorita di Donizetti
Andante
Allegretto
Antonio Pasculli
(1842-1924)
INTERMISSION
Largo from Sonata in F
Carlo Yvon
(1798-1854)
Trio for Piano, Oboe, and Bassoon (1926)
Presto
Andante
Rondo
Francis Poulenc
(1899-1963)
School of
music
IMVERSITYof IOUISVILLE.
dare to be great
WIND SYMPHONY
Frederick Speck, conductor
February 9th, 2006
12:20 p.m.
Cascade Ballroom
Kentucky International Convention Center
Louisville, Kentucky
KENTUCKY MUSIC EDUCATORS ASSOCIATION
48th ANNUAL IN-SERVICE CONFERENCE
UNIVERSITY OF LOUISVILLE SCHOOL OF MUSIC
Christopher Doane, Dean
Naomi Oliphant, Associate Dean
University Bands
Frederick Speck, Director of Bands
Greg Byrne, Associate Director of Bands/Director ofAthletic Bands
Woodwind, Brass and Percussion Faculty
Donald Gottlieb, Flute
Kathleen Karr, Flute
Leanna Booze, Oboe
Dallas Tidwell, Clarinet
Timothy Zavadil, Clarinet
Matthew Karr, Bassoon
John Moore, Saxophone
Mike Tracy, Saxophone
Herbert L. Koerselman, Trumpet
MichaelTunnell, Trumpet
Bruce Heim, Florn
Brett Shuster, Trombone
John Jones, Euphonium and Tuba
Gregory Byrne, Percussion
Brian Kushmaul, Percussion
The University of Louisville School of Music
-USIC
i n d ; us t st " or Ar ; s "■ Trach1 ^ sfu —" rjor:;,:
School oilers Master of Music degrees in perfor ’’ "f""'' or " rl y music. On the graduate level, the
and music eduction. The Ph.D. in Mnsicolog^CC
*■- Lou^-D.
composition and performance of new music The LI ' Slc ociety. A major emphasis of the School of Music is the
one of the largest monetary awards for composition in th'^ ° Jv° U,SV1 . l,e Graw emeyer Award for Music Composition,
nominated work. Previous winners of this nrestiom , W ° r , ’ ' S ^' Ven annua hy to an outstanding composer for a
Harrison Birtwistle (1987), Chinary ling (1989^ T ' nC ude Witold Lftoslawski (1985), Gyorgy Ligeti (1986),
^«l Hus. (1993),Torn Takemitsu OMtCoiCgi" <,9 ’ 0> ' ^ <'*">, f LLL'C*
(l»7),Tan Dun (1998), Thomas Adi, ( 20 00 f’L ", I™ IWS) ' lv " Tcherepnin (1996), Simon Bainbridge
Unsult Chin (2004), ,„ d GeorgeTsonJis (200S) A * r ° n h ^ < 2 °° 2 >’ S “™h° (2003),
PROGRAM
“Allegro marcato” from Trittico (1963)
Vaclav Nelhybel
(1919-1996)
The Alcotts (1909-1915) Charles Ives
(1874-1954)
transcribed by Richard Thurston
Vientos y Tangos (2002)
Michael GandolPi
(b. 1956)
“Syrtos” and “Syrtaki” from Dances from Crete (2003)
Adam Gorb
(b. 1958)
The Melody Shop (1910)
Karl L. King
(1891-1971)
Daniel Stull, Matthew Byrum and Sarah Danyi, euphoniums
PROGRAM NOTES
Allegro Marcato from Trittico
Vaclav Nelhybel
A versatile musician, Vaclav Nelhybel held various posts as composer, conductor, organist and teacher His
most notable European engagements included being conductor at Radio Prague and City Theater of Prague
from 1939 to 1942 and Music Director of Radio Free Europe in Munich from 1950 to 1957. He came to the
United States from Czechoslovakia in 1957, later becoming an American citizen. His original voice for wind
instruments was welcomed as bodi provocative and stimulating. Trittico was written for William D. Revelli and
the Symphonic Band of the University of Michigan.
The character of the “Allegro marcato” which is the final movement of the work, is brilliant and energetic.
Opening fanfares by the brass choir highlight the beginning of the movement, ultimately drawing the wood¬
winds and percussion into an exhilarating expression of motion and drama.
THE Alcotts Charles Ives
Originally written as the third movement of the Piano Sonata No. 2 "Concord, Mass. 1840-60," this movement
begins with a direct and placid beauty that the listener may react to as if hearing an old familiar hymn. Still
there is more at play, as even here in the opening figures, Ives entwines a subtle statement of a motive that
governs die work. Eventually the motive is cast as a stern and fateful quotation of the principal motive of
Beedioven’s Fijth Symphony intervening like a musical spire of granite. Past this, a set of sentimental duets is
questioned with yet another motive of fate. Finally, after sinewy counterpoint lifts up a towering mass of
sound, die Beethoven quote again emerges as if to prevail. In the end, however, there is a lovely reminder of
die gentleness of the work as it concludes by way of a beautiful flute solo.
Vientos y Tangos (Winds and Tangos) Michael Gandolfi
Vientosy Tangos is saturated with diverse expressions of the tango. Its musical attitudes range from the intense
and physically ballistic to the subtle and nearly exhausted. In it, Gandolfi has drawn from the early style of Juan
D’Arienzo, the ‘Tango Nuevo’ style of Astor Piazzolla and even the current flavor of‘Disco/Techno Tango.
The instrumental colors of the work are vivid, often influenced by the traditionally idiomatic sounds of the
tango as might have been heard in instruments such as the violin, contrabass, piano and bandoneon. The work
was commissioned by the Frank Battisti 70th Birthday Commission Project.
SYRTOS and SYRTAKI from DANCES FROM CRETE
Adam Gorb
Dancesfrom Crete was commissioned by well-known conductor Tim Reynish as part of a series to commemo¬
rate the life of his son William, who died in a tragic mountaineering accident in 2001. In the work, Gorb
creates a musical celebration of the good things in life, using material from the dance music of the Greek island
of Crete. The first movement, Syrtos, was inspired by the imagery of the mythical Minotaur, a creature that
was half bull and half man. It is rhythmic and bold in its characterization of the muscular and sometimes
ruthless Minotaur. The fourth movement, Syrtaki, is a modern Greek dance. Trumpets beckon the beginning
of the movement, drawing their cohorts to join in with an intentionally banal theme. The music becomes
festive, dancing and spinning toward celebratory anarchy, only to set the stage for the ghost of the Minotaur to
join the party.
The Melody Shop Karl L. King
Of Karl King’s 18S marches, The Melody Shop was published when King was only 19 years old. A popular
legend surrounds its dizzying euphonium part. As the story goes, King met a man by chance who turned out
to be a “perfect” stranger at a Canton, Ohio barbershop. This fellow, a euphonium player, struck up a conver¬
sation with King, sharing his insight on march music. Not knowing whom he was speaking with, the stranger
commented that the composer Karl King was “the guy who writes those dinky marches.” His unintentional
challenge became die inspiration for King to give The Melody Shop one of the most famous euphonium parts in
die band repertoire.
The University of LouisvilleWind Symphony
BIOGRAPHY
FREDERICK Speck, Director of Bands and Professor of Music, conducts the Wind
Symphony and New Music Ensemble, and teaches conducting and composition. Under
his leadership, the Wind Symphony has been invited to perform at KMEA Conferences,
CBDNA Southern Division Conferences, the MENC National Conference and the
CBDNA National Conference. His music has been performed by such ensembles as the
Louisville Orchestra, the Denver Symphony and Speculum Musicae, and recorded by
such artists as Richard Stoltzman. Twice the recipient of the University of Louisville
President’s Award for Outstanding Scholarship, Research and Creative Activity, his work
has also been recognized through fellowships and commissions from such organizations
as the Barlow Endowment, the National Endowment for the Arts, the Indiana Arts
Commission, and the Pennsylvania Council for the Arts. He holds the B.M. and M.M.
from Bowling Green State University and the D.M.A. from the University of Maryland.
TheWind Symphony
The performance of works representing all styles in the wind band repertoire has become the trademark of
the University of Louisville Wind Symphony. In addition, the performers in this ensemble are persuasive
advocates of new music. As such, they have had opportunities to engage with prominent visiting composers
such as Karel Husa, John Corigliano, Chinary Ung, Donald Erb, and Christopher Marshall. Recently, other
outstanding musicians including Ben Toth, percussion, Susan Rider, trumpet, Phil Smith, trumpet, and
conductorsTim Reynish and Col. Finley Hamilton have performed with the ensemble.
Comprised of the finest woodwind, brass and percussion players at the university, the ensemble performs
numerous concerts on campus each year. In addition, the ensemble has performed at the 1997, 1999 and
2002 KMEA In-Service Conferences, the 1998 and 2002 CBDNA Southern Division Conferences, the 2000
MENC National Conference in Washington, D. C. and the 2005 CBDNA National Conference in New York
City.
The University Bands
Comprised of both music majors and students majoring in other fields, the University Bands include the Wind
Symphony/Wind Ensemble, Symphonic Band, Concert Band, University-Community Band, Marching Band
and Pep Bands. 1 he concert wind groups rehearse and perform throughout the year, with the exception of the
Concert Band which is offered during the spring semester only. The athletic bands operate on schedules
appropriate to the sports they support. The Marching Band has made eight consecutive bowl appearances and
continues its long tradition of featured performance at the Kentucky Derby. More information is available by
phone (502) 852-5200 or via e-mail at UofLBand@louisville.edu.
PERSONNEL
Piccolo
Tyra BlasherT
Louisville
Flutes
Amanda Taylor+
Benton
Katie Fondrisi
New Albany, IN
Penelope Beard
Lima, Peru
Tiffany Wilson
Ashland
Oboes
Gretchen Reiter+
Crescent Springs
Wendy Frazee
Franklin, OH
Clarinets
NorikoTaka+*
Hiroshima, japan
Amber Richeson
Owensboro
Michelle Linder
Cincinnati, OH
Sharon Edmonds
Louisville
Heather Stokes
Louisville
Amanda Wright
Alexandria
Chris Phillips
Milford, OH
Bass Clarinet
Brad Baumgardner*
Nashville,TN
Bassoons
Carrie Baxter+*
Fredonia, NY
Erica Jones
Ft. Eric, Ont., Canada
Alto Saxophones
Kevin Arbogast+
Bowling Green
Jennifer Hoffmann
Louisville
Tenor Saxopi ione
Tommy Zinninger
Louisville
Baritone Saxophone
Daniel Reams Cecilia
+ principal
* graduate student
Horns
Kate Reyman+
Dominic Rotella
Lindsay Pummell
Nickie Lewis
Leah Simer
Decatur, 1L
Louisville
Franklin, OH
Louisville
Centralia, IL
Trumpets
Ryan Nottingham +
Matt Janssen*
Michael Swope*
Ryan McCaslin*
Melissa McDaniel*
Daniel Whaley*
Louisville
Watseka, IL
Connersville, IN
Babylon, NY
Collierville,TN
Knoxville,TN
Trombones
Audrey Davis+
Sarah Finger
Aaron Stepp
Louisville
Anderson, IN
Glasgow
Bass Trombones
Anastasi Fafalios*
Belle Vernon, PA
Euphoniums
Daniel Stull +
Matt Byrum
Sarah Danyi*
Payneville
Louisville
Oregon, OH
T LIBAS
Aaron Gaither+
AdamYankowy
Louisville
Louisville
Percussion
Matt Greenwood +
Whitney Winstead
Andrew Powell
Phil Turner
Floyds Knobs, IN
Louisville
Benton
New Albany, IN
Double Bass
Nick Wooldridge
Louisville
Graduate Assistants
Sarah Danyi* Oregon, OH
Anastasi Fafalios* Belle Vernon, PA
David Jaggie* Lexington
LOUISVILLE^^RCHESTRA
H IU H ( PERT O R M A N C. E
Brown-Forman Sundays at 5
Mozart and Mendelssohn
Mischa Santora, Conductor
Orion Weiss, Piano
Mim.iry 12
(hasp Pops
Art Garfunkel
Icbru.irv lit
Talel Motor Co. Mercedes-Benz
Collee Classics Series/
Hilliard Lyons Classics Series
Brahms 1
Edwin Outwater, Conductor
Jennifer Frautschi, Violin
U.irtll 2IA
Hilliard LyonsClassicsSeries
Mendelssohn’s Italian Symphony
Mischa Santora, Conductor
Orion Weiss, Piano
|t‘brii.ir\ 10
YLIM! Brands orKIDStra
African Safari
I I'lmi.iry 11
FEBRUARY
RFORM1NG A.
Louisville Orchestra
Raymond Leppard, Artistic Advisor
Music Director Chair
Mary and Barry Bingham, Sr.
Bob Bernhardt, Principal Pops Conductor
Robert Franz, Associate Conductor
FIRST VIOLIN
Michael W. Davis, Concertmaster
Fanny and Charles Horner
Concertmaster Chair
Assia Dulgerska, Assistant
Concertmaster
Sarah Reed
National City Bank Chair
Katheryn S. Ohkubo
Cheri Lyon Kelley
Mrs. John H. Clay Chair
Keith Cook
Stephen Taylor
Scott Staidle
Nancy Staidle
Barbara Meek
Patricia Fong
Tamara Meinecke
SECOND VIOLIN
Marcus Ratzenboeck, Principal
Claire and Lee Lenkoff Chair
Clinton Grosz, Assistant Principal
Matthew Milewski
Mary Catherine Klan Violin
Chair, Endowed by Chase
Devonie Freeman
Elisa Spalding
Kimberly Tichenor
Charles Brestel
Patricia Ann Jenkins
Endowed Chair
Heidi Tracy
Judy Pease Wilson
Blaise Jessop Poth
Karen Lord-Powell
VIOLA
Jack Griffin, Principal
Aegon Chair
Melinda Odle, Assistant Principal
Jacqueline R. and
Theodore S. Rosky Chair
Jennifer Shackleton
Mr. and Mrs. Charles W.
Hebei, Jr. Chair
Clara Markham
Joanne Wojtowicz
Jamie Hofman
Joel Gibbs
♦Shannon Farrell
Virginia Kershner Schneider
Viola Chair, Endowed in Honor
of Emilie Strong Smith by an
Anonymous Donor
Fan Xiao
CELLO
Susannah Onwood, Principal
Thomas Mattingly and Anita
Grenough Abell Memorial Chair
Joseph Caruso, Assistant Principal
Carole C. Birkhead Chair,
Endowed by Dr. Ben M. Birkhead
Christina Hinton
Dr. Edward Leo Callahan Chair
Alan Rafferty
Peter McCaffrey
Frances Shapiro-Weitzenhoffer
Chair, Endowed by Esther &
Dr. David Shapiro
Deborah Caruso
Julia Preston
BASS
Bert Witzel, Principal
Aaron White, Assistant Principal
^Sidney King, Assistant Principal
Patricia Docs
Robert Docs
Karl Olsen
Jarrett Fankhauser Chair,
Endowed by the
Paul Ogle Foundation
Michael Chmilewski
FLUTE
Kathleen Karr, Principal
Yong Ma, Second Flute
♦Jennifer Hackett, Assistant Principal
Donald Gottlieb, Acting
Assistant Principal
PICCOLO
Donald Gottlieb
Alvis R. Hambrick Chair
OBOE
Marion Gibson, Principal
Betty Arrasmith Chair,
Endowed by the Association of
the Louisville Orchestra
Trevor Johnson, Assistant Principal
Edgar J. Hinson III Chair
Marianne Petersen
ENGLISH HORN
Marianne Petersen
Philip M. Lanier Chair
CLARINET
Andrea Levine, Principal
Brown-Forman Corp. Chair
Timothy Zavadil, Assistant Principal
General Diliman A. Rash Chair
Ernest Gross
Kate H. and Julian P.
Van Winkle, Jr. Chair
audience
E-FLAT CLARINET
Timothy Zavadil
BASS CLARINET
Ernest Gross
BASSOON
Matthew Karr, Principal
Paul D. McDowell Chair
David Horn
Roger Soren, Assistant Principal
CONTRABASSOON
Roger Soren
HORN
Eric Overholt, Acting
Co-Principal Horn
Bruce Heim, Acting
Co-Principal Horn
Edith S. and Barry
Bingham, Jr. Chair
Stephen Causey, Assistant
Principal
Dennis Hallman
Kenneth Albrecht
Diana Wade Morgen
TRUMPET
J. Jerome Amend, Principal
Leon Rapier Chair, Endowed
by the Musicians of
the Louisville Orchestra
James Recktenwald, Assistant
Principal
Lynne A. Redgrave Chair
Daniel Kassteen
TROMBONE
Patricia McHugh, Principal
PNC Bank, Kentucky, Inc. Chair
Joseph Parrish
BASS TROMBONE
Raymond Horton
TUBA
Daryl Johnson, Principal
TIMPANI
James Rago, Principal
PERCUSSION
John Pedroja, Principal
fBrian Kushmaul
HARP . . ,
Mary Julian Rapier, Principal
The Humana Foundation Chair
KEYBOARD
fGrace Baugh-Bennett
Margaret S. Comstock Piano Chair
*On leave
•{"Auxiliary musician often engaged
A-
ji
LOUISVILLEy>C ORCHESTRA
l-l I G H ( PERFORMANCE
r
RAYMOND LEPPARD, Artistic Advisor
BOB BERNHARDT, Principal Pops Conductor
ROBERT FRANZ, Associate Conductor
HILLIARD LYONS
Classics
SERIES
Friday, February 10,2006
8 p.m.
Brown Theatre
MISCHA SANTORA, Conductor
ORION WEISS, Piano
Program
WOLFGANG AMADEUS MOZART Symphony No. 31 in D Major, K. 297 (Paris)
I. Allegro Assai
II. Andante
III. Allegro
WOLFGANG AMADEUS MOZART Piano Concerto No. 19 in F Major, K. 459
I. Allegro
II. Allegretto
III. Allegro assai
Mr. Weiss, piano
- Intermission -
OLIVER MESSIAEN UnSourire [A Smile)
FELIX MENDELSSOHN
Symphony No. 4 in A Major, op. 90 (Italian)
I- Allegro vivace
II- Andante con moto
HI- Con moto moderato
IV. Saltarello: Presto
The Galt House Hotel & Suites is the
OFFICIAL HOTEL OF THE LOUISVILLE ORCHESTRA.
Kesitudii?'
^ imamsiro S
Dlatra '* u Cl i ■ '>.UL V/l\V_nCil KM. THE KENTUCKY ARTS COUNCIL
‘ * lhe ,' f ZISZT m,ck or >**“■
ot cameras and recording devices is strictly prohibited.
AUDIENCE
A-2
MISCHA SANTORA, Conductor
B l Newly appointed
Associate Conductor for
the Minnesota Orchestra,
Mr. Santora has recently
completed a three-year
I tenure as Music Director
\ of the International Opera
- Festival Miskolc (Hungary),
one of the most prestigious and innovative
music festivals in Eastern Europe, which led
him to conduct a wide range of operatic and
symphonic concert presentations over the
past three summers. In North America he
enters his fifth season as Music Director of
the Cincinnati Chamber Orchestra and
continues as Artistic Advisor to the New York
Youth Symphony, having held that Orchestra’s
position as Music Director from 1997-2002.
Highlights of the 2005-06 season thus far
include his subscription debut with the
Minnesota Orchestra, a tour of Australia
with the Australian Youth Orchestra, his
debut with the Indianapolis Symphony
Orchestra, and the Louisville Orchestra.
As a recipient of the 1998 Aspen
Conducting Prize, Mr. Santora was invited to
act as the Assistant Conductor for the Aspen
Music Festival for three consecutive seasons
(1999-2002). In the 2000 season, Mr. Santora
was invited by Carnegie Hall to participate
with Daniel Barenboim, Music Director of
the Chicago Symphony Orchestra, in a
Carnegie Hall-sponsored master class in
New York City. Mr. Santora has been the
recipient of many conducting honors from
prestigious institutions, such as the Presser
Foundation and the Kiefer-Hablitzel and the
Kurt-Dienemann Foundations of Switzerland.
Born to Hungarian parents in the
Netherlands, Mr. Santora moved with his
family to Switzerland, where he maintains
citizenship. His musical upbringing set him
on a course of study leading to certificates in
violin and teaching from the Academy for
School and Church Music in Lucerne and the
Hochschule der Kunste in Berlin. He began
violin studies with his father, a member of
the Lucerne Symphony, and while in Berlin,
studied with Thomas Brandis, former
concertmaster of the Berlin Philharmonic.
Mr. Santora subsequently undertook
conducting studies with Otto-Werner
Mueller at the prestigious Curtis Institute of
Music from which he graduated in 1997.
ORION WEISS, Piano
American pianist Orion
Weiss has already
established himself as an
extraordinary young
talent who exhibits great
maturity and depth
bolstered by remarkable
technical skills. He is a
recipient of the 2002 Avery Fisher Career
Grant and is a winner of both the Gina
Bachauer Scholarship (2002, 2003) at the
Juilliard School and the Mieczyslaw Munz
Scholarship competition. In 1999, he
received the prestigious Gilmore Young
Artist Award, an honor granted by the
IrvingS. Gilmore International Keyboard
Festival to promising young American
pianists. Mr. Weiss is also a member of the
Chamber Music Society Two program of the
Chamber Music Society of Lincoln Center.
Past season highlights include recital
appearances on the Ravinia Rising Stars
Series and in St. Louis’s Sheldon Concert
Hall; performances of Schumann’s Piano
Concerto in A minor with the Oregon
Symphony led by Norman Leyden;
Beethoven’s Piano Concerto No. 1 with
Mischa Santora and the Cincinnati
Chamber Orchestra; and Rachmaninoff’s
Piano Concerto No. 2 at the inaugural
concert of Festival on the Green with Jeffrey
Kahane leading the Santa Rosa Symphony.
Mr. Weiss has received first prize
honors at the Akron Youth Symphony,
Cleveland Philharmonic, Music Academy of
the West, Venitia Hall and the Cleveland
AUDIENCE
A-3
Institute of Music Concerto competitions.
He was also awarded a scholarship at the
Interlochen Arts Camp for four consecutive
years and has participated in the Sergei
Babayan International Piano Academy and
the Perlman Music Program (founded and
run by Itzhak and Toby Perlman). He is also
a regular attendee to Paul Schenly s
summer festival, Pianofest in the Hamptons.
A native of Lyndhurst, Ohio, Mr. Weiss
attended the Cleveland Institute of Music,
where he studied with Paul Schenly. Other
teachers include Daniel Shapiro, Sergei
Babayan, Kathryn Brown and Edith Reed.
Mr. Weiss currently studies with Emanuel Ax
at The Juilliard School in New York.
PROGRAM NOTES
Symphony No. 31 in D Major, K. 297 (Paris)
Wolfgang Amadeus Mozart (1756-1791)
In 1777 Mozart set out with his mother on
a grand tour of Germany and France, ending
up in Paris where his mother suddenly died.
The trip turned into a financial disaster as
well: no court appointments, few substantive
commissions and, because of his long
absence, dismissal from his post with the
Salzburg court orchestra. As for the Parisians,
they mostly ignored him, while he repaid
them in kind. As his letters home show, he
despised the Parisians and their musical life.
Compared to his usual pace, Mozart
also composed few major works during
that time. One of the most significant was the
Symphony in D Major. It was commissioned
by Joseph Le Gros, the impresario of the
foremost orchestral concert series in Paris,
the Concerts spirituels, whose large orchestra
was the pride of the city.
The orchestra had a large and well-
disciplined wind section, including clarinets,
and this is the first symphony in which
Mozart used this relatively new instrument.
On the other hand, he found the string sound
abominable, claiming to fear for the life of
his symphony. Nevertheless, the premiere
went well with repeated applause.
To conform to Parisian taste, the
Symphony has only three movements. It
opens with a pompous theme which
immediately contrasts with a dainty lyrical
one, the two alternating throughout the
movement. The graceful Andante heard
today is a replacement for the original one,
which did not please Le Gros, who found it’
too long and with too many modulations.
The finale contains one of those
AUDI
Haydnesque surprises. It opens with
whispering strings but suddenly bursts forth
with a grand fuff/ that elicited surprise and
thunderous applause at the premiere.
This piece is scored for 2 flutes, 2 oboes,
2 clarinets, 2 bassoons, 2 horns, 2 trumpets,
timpani and strings. This is the premiere
performance of this piece on the Louisville
Orchestra's Classics Series.
Piano Concerto No. 19 in F Major, K. 459
Wolfgang Amadeus Mozart (1756-1791)
Mozart composed a total of 28 solo
keyboard concertos, most of them for his
own use in subscription concerts in Vienna.
Consequently, the timing of their composi¬
tion was influenced by the artistic climate
and the economic well-being of the city. In
the short period between 1782 and 1786,
with a booming economy, aristocratic
families vied with one another to under¬
write and sponsor concerts of the latest in
musical fashion. During those flush years,
Mozart was in great demand both as a
composer and performer at the keyboard,
composing 17 concertos, including this one
in F Major. "Concertos,” Mozart wrote his
father, “are a happy medium between what
is too hard and too easy...pleasing to the
ear...without being vapid.”
However successful a composer might
be at this time, both the greatest prestige
and the money came primarily from opera,
as opposed to instrumental music. After
1786 Mozart was eager to be seen more as
an opera composer than a performer. He
concentrated his efforts and genius —
beyond anything he had produced before
in this genre - on his three great comic
e n c E
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operas with libretti by Lorenzo da Ponte:
Le none di Figaro, Don Giovanni and Cosi
fan tutte. Consequently, Mozart composed
only two piano concertos in the last five
years of his life.
The Concerto in F Major, however, was
composed in late 1784 and probably
premiered in one of six subscription
concerts Mozart gave in February and
March of 1785. The concerts were a
financial and artistic success.
In this concerto Mozart gives special
prominence to the winds, especially the
principal oboe, which gets both lovely solo
riffs and dialogues with the piano. The
formal structure of the movements follows
only in the broadest sense the conventional
concerto pattern: a first movement in
sonata allegro form with double exposition;
a slow canto bile second movement in ABA
song form; and a rondo finale. Mozart often
varied the thematic structure of his opening
movements by sometimes having the
soloist enter with a new theme after the
orchestra’s exposition or by introducing
different subsidiary themes for orchestra
and soloist. In this case, the soloist repeats
the orchestra’s first theme, in fact expanding
upon it. The exposition is unusually long,
running for about half the entire movement
with a variety of harmonic digressions that
shift between light and dark moods.
The second movement is sprightlier
than customary for a slow movement. The
orchestra introduces a single theme that is
repeated and developed by the soloist -
analogous to the double exposition
customary for first movements. Mozart
turns the simple melody into something
special by creating poignant harmonies
underneath it. A contrasting B, or middle,
section, introduced by the oboe in the
minor, suggests another theme but soon
returns to the original one. When the A
section returns, it is varied as a beautiful
chamber ensemble for piano and solo
winds and a gentle waltz-like variation.
The B section is repeated, followed by a
coda, once again developing the main
theme and featuring the winds.
The Finale, a rondo - sonata form (a
refrain with a true second theme group),
bears a strong resemblance to a phrase from
the rondo in Haydn’s Symphony No. 78,
composed a couple of years earlier. Perhaps
Mozart included the quote as a salute to his
friend and long-time supporter. The jolly
little rondo theme is followed by an outburst
of learned fugal counterpoint, but the
interplay of these two styles throughout the
movement creates an atmosphere of good
humor rather than pedantry.
This piece is scored for flute, 2 oboes,
2 bassoons, 2 horns and strings. This piece
was last performed on the Louisville
Orchestra’s Classics program in the 2000-01
season.
Un Sourire (A Smile)
Olivier Messiaen (1908-1992)
A Catholic by religion and a mystic by
nature, French composer and organist
Olivier Messiaen linked his music intimately
to his beliefs and visions. He claimed that
the three cornerstones of his music were:
first, "the theological truths of the Catholic
audience
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faith... perhaps the only aspect of my work
that I will not regret at the hour of my
death”; second, “the greatest theme of
human love” referring to the medieval
legend of Tristan and Iseult; and third,
the sounds of nature.
Messiaen’s musical output is extensive
and eclectic. The son of an English teacher
and the poet Cecile Sauvage, he demon¬
strated both musical and aesthetic sensi¬
bilities from early childhood, mounting
productions of Shakespeare in translation
and composing at the piano when only
seven years old. He entered the Paris
Conservatory at ten, also extraordinary, and
was trained according to that institution’s
rigid methods. At 22 he became organist at
the church of La Sainte Trinite in Paris. But
the musical scene in Paris of the early 20th
century encompassed more than the
conservative Conservatoire and church
music. Messiaen was exposed to the music
of Debussy, /es5/x (the six individualistic
composers, devotees of Eric Satie) and
especially Stravinsky, whose Rite of Spring
made a deep and lasting impression on
him and influenced his rhythmical style.
In the winter of 1940, Messiaen was a
prisoner of war in Gorlitz, Germany (now
Poland), where under freezing conditions
and severe deprivation he composed what
became his most famous work, Quatuor
pour la fin du temps (Quartet for the End
of Time) for clarinet, violin, cello and piano.
A sympathetic German guard smuggled him
paper and pencil to compose and hid him
while he worked. He and three other
musicians, including the famed cellist
Etienne Pasquier, premiered the Quartet in
front of 5,000 of their fellow prisoners on a
bitter cold day in January 1941.
Messiaen's broad interest in Gregorian
chant, Hindu rhythms and oriental
mysticism also influenced many of his
works. Since his youth Messiaen had been a
passionate collector of birdsong and in the
1950s began painstakingly and accurately
transcribing birdsongs from around the
world, which were regularly cited in
standard reference works in ornithology. He
tried to create faithful instrumental
replications of birdsong, which form a
A ' 6 AUDI
component of many of his religious works.
In addition to his fame as composer
and organist, Messiaen was also one of the
century’s most respected teachers. In 1943
he began teaching privately and from 1966,
at the Paris Conservatory. His students
included a veritable who’s who of mid¬
century composers, including Pierre Boulez,
Iannis Xenakis, Karlheinz Stockhausen and
Alexander Goehr. Although he experimented
with 12-tone music and even early electronic
music, he adhered mostly to a personal
musical language that few of his students
sought to emulate. His works are replete
with a personal symbolism associated with
certain chord progressions and melodies.
The majority of his compositions refer to
images or ideas, most of them religious, the
best known being the piano cycle Vingt
regards sur I'Enfant Jesus (Twenty
perceptions of the Infant Jesus). In 1948, on
a commission from the Boston Symphony
Orchestra’s famed conductor Serge
Koussevitzky, Messiaen composed his most
ambitious and controversial work,
Turangalila-symphonie, one of three works
inspired by the Tristan legend, in which the
composer equates intense sensual passion
with Divine Love. It features flamboyant
percussion and sensuous rhythms.
Un Sourire (A Smile) was Messiaen’s
contribution to the celebrations of Mozart's
bicentenary in 1991 and his last commis¬
sioned work. In notes for the work Messiaen
wrote: “Despite bereavements, sufferings,
hunger, cold, incomprehension and the
proximity of death, Mozart still smiled, his
music also. That is why I allowed myself, in
all humility, to call my act of homage ‘A
smile.’ ” This brief work offers a taste of the
composer’s ethereal chord progressions, his
rhythmic style and his birdsong imitations.
The work is an extended adagio that
opens with a gentle section of sustained
chords for oboe and strings. It contrasts
with a second almost jazzy section imitating
birdsong in the winds and percussion. The
two sections alternate three times, each
time the first part getting a little longer and
slower, finally ending on an extended
ethereal - and tonal - chord.
This piece is scored for 4 flutes and
E N C E
piccolo, 4 oboes and English horn, 3
clarinets, 3 bassoons, 4 horns, trumpet,
percussion (xylophone, chimes, suspended
cymbals, xylorimba) and strings (no double
bass). This is the premiere performance of
this piece on a Louisville Orchestra Classics
program.
Symphony No. 4 in A Major, op. 90 (Italian)
Felix Mendelssohn (1809-1847)
If ever there was a composer who did not
fit the romantic picture of the struggling
artist fighting for his daily bread and artistic
survival, it was Felix Mendelssohn. Born
with a silver spoon in his mouth and raised
in affluence and comfort, his precocious
musical talent was recognized and nurtured
by his culturally sophisticated and highly
supportive family. His home was a Mecca
for the intellectual elite of Germany, and
the many family visitors encouraged the
prodigy and his talented sister Fanny.
One of the results of this financial
security and family support was the ability
to travel extensively in what was then
considered the "civilized" world - Western
Europe and Italy. Some of Mendelssohn’s
most successful orchestral compositions
represent musical travelogues of such trips:
the Scottish and Italian symphonies, and
The Hebrides overture.
Traveling to Italy in 1830, Mendelssohn
was at once completely captivated by the
sights and sounds of the sunny country and
wrote home: “...What I have been looking
forward to all my life as the greatest happi¬
ness has now begun, and I am basking in
it.” He immediately set about composing
the “Italian" Symphony, which was
premiered in London in 1833 at the
invitation of the London Philharmonic
Society, conducted by the composer.
The first movement, Allegro vivace,
opens with a buoyant theme reflecting the
sparkle of the Italian sunshine and the
young composer’s excitement. The
contrasting second theme is a lilting figure
for two clarinets playing in parallel thirds.
The Andante con moto is in a darker
mood. It was composed after a visit to
Naples, where Mendelssohn was greatly
depressed by the poverty he saw. The
doleful woodwinds and plodding staccato
on the cellos and double bass may depict a
religious procession he is known to have
observed in the city streets.
The charming and graceful Con moto
moderato lightens the mood again and uses
the traditional scherzo and trio form. The
finale Saltarello: presto with its driving
triplets is based on the nineteenth-century
folk version of a medieval Italian dance. In
fact, Mendelssohn may have taken the two
dance themes from folk music he had
heard at a Roman carnival which he
described in detail in his letters.
This piece is scored for 2 flutes, 2 oboes,
2 clarinets, 2 bassoons, 2 horns, 2 trumpets,
timpani and strings. This piece was last
performed on a Classics Series program in
the 1995-96 season.
~ Joe & Elizabeth Kahn
Word Pros, Inc.
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3939 Shelbyville Road • Louisville, KY
(502) 719-9700 • www.burdorf.com
A-7
AUDIENCE
//
LOUISVILLE
HIGH ^_P E
/
ORCHESTRA
UFORMANCE
RAYMOND LEPPARD, Artistic Advisor
BOB BERNHARDT, Principal Pops Conductor
ROBERT FRANZ, Associate Conductor
</ ©
DROWN-FORMAN
(y Sundays at 3
Sunday, February 12, 2006 • 3 p.m.
Comstock Hall, U of L
MISCHA SANTORA, Conductor
ORION WEISS, Piano
Program
WOLFGANG AMADEUS MOZART Symphony No. 31 in D Major, K. 297 (Paris)
I. Allegro Assai
II. Andante
WOLFGANG AMADEUS MOZART Piano Concerto No. 19 in F Major, K. 459
I. Allegro
Mr. Weiss, piano
FELIX MENDELSSOHN Symphony No. 4 in A Major, op. 90 (Italian)
II. Andante con moto
III. Con moto moderato
IV. Saltarello: Presto
The Galt House Hotel & Suites is the
OFFICIAL HOTEL OF THE LOUISVILLE ORCHESTRA
THE KEKIUCKT ARTS COWfiCtC
Please switch off the electronic signal on your cellular phone, watch, or pager before the concert begins.
I he use ol cameras and recording devices is strictly prohibited.
LOUISVILLE yx
II I G I I p'e
/
ORCHESTRA
RFOILMANCE
RAYMOND LEPPARD, Artistic Advisor
BOB BERNHARDT, Principal Pops Conductor
ROBERT FRANZ, Associate Conductor
AFRICAN SAFARI
Saturday, February 11, 2006 • 11 a.m.
Brown Theatre
STUART CHAFETZ, Conductor
NEW ALBANY HIGH SCHOOL CHOIRS, Linda DeRungs, Director
Program
MAX STEINER
M. KHUMALO,
orch. Van Dijk
JOHN CAGE
HENRY MANCINI,
arr. C. Custer
SAMUEL COLERIDGE-TAYLOR
ELTON JOHN,
arr. Crafton Beck
ELTON JOHN,
arr. Crafton Beck
King Kong Overture
Bawo Thixa Somandta
Story from Living Room Music
Baby Elephant Walk from A Tribute to Henry Mancini
Danse negre, op. 35, no. 4
Can You Feel the Love Tonight from
"Suite from Disney’s The Lion King”
Suite from Disney’s The Lion King
New Albany H.S. Choirs
MUMHMW
The ofliti.il provider ol renl.ll Allergy & Asthma
vehicles to the Louisville Orchestra Breathe Bight. Live Well.
The Galt House Hotel & Suites is the
OFFICIAL HOTEL OF THE LOUISVILLE ORCHESTRA. lilt KCNIUCKY AMS COUNCIL
Please switch off the electronic signal on your cellular phone, watch, or pager before Ihe concert begins.
The use of cameras and recording devices is strictly prohibited.
AUDIENCE
A-9
STUART CHAFETZ, Conductor
i Known for his innovative
and exciting classical,
^W pops and family
, concerts, Stuart Chafetz
is the guest conductor of
choice by musicians and
i Ik Wi audiences nationwide.
Recently featured as a 2004 and 2005
Emerging Artist in Symphony Magazine,
he is currently Music Director and
Conductor of the Maui Pops Orchestra.
As such, Mr. Chafetz oversaw remarkable
artistic growth and vastly increased
statewide exposure. He was responsible
for the island’s first symphonic live radio
broadcasts on Hawaii Public Radio
featuring the Masterworks concerts of the
Maui Symphony, which gave the state of
Hawaii the opportunity to hear classical
music broadcast live from the island of
Maui.
As a frequent guest conductor of the
Honolulu Symphony, Mr. Chafetz has led
the orchestra numerous times on the
MasterWorks and Pops series, working
with such distinguished artists asjean-
Philippe Collard, Chee Yun, Jon Kimura
Parker, Awadagin Pratt, Bernadette Peters,
John Denver, Richard Chamberlain, Jim
Nabors, Jason Scott Lee and Tony award-
winner Michael McGuire.
A graduate of the Eastman School of
Music and the University of Cincinnati -
College Conservatory, Stuart is a powerful
advocate for the musical education of
young people. Mr. Chafetz is committed
to educational concerts and promoting
the young talent of Hawaii and every city
to which he travels. Stuart continues to
be involved with Carnegie Hall’s LinkUp!
program with the Louisiana Philharmonic
and Baton Rouge orchestras.
Mr. Chafetz and his wife, conductor
Ann Krinitsky, currently divide their time
between homes in Honolulu and
Chautauqua, NY.
LINDA DeRUNGS, Choir Director ;
Linda DeRungs is in her 22nd year as the
Director of Choral Music and Fine Arts
Chair at New Albany High School, where
she directs three choirs and teaches
music theory, electronic music and piano
lab. She has also been the music director
for over 50 musicals. Her choirs have
performed with the Louisville Orchestra,
Louisville Ballet, Kentucky Opera and The
Dallas Brass.
The performing arts curriculum at
New Albany High School includes three
choirs, three bands, two orchestras, three
sections of piano lab, an electronic music
course, an honors music theory course
and five sections of drama classes. In
addition to her three academic music
classes, Ms. DeRungs directs the 70-90
voice advanced choir, Acappella Singers;
the 40-60 voice female choir, Camerata
Singers; and the 30-60 voice Madrigal/
Jazz Ensemble. She is musical director
for two to three annual musicals and
oversees the activities of five visual arts
teachers.
A-10
audience
New Albany High School Choirs
Madrigal Singers
Nikki Aemmer
Alex Garrett
Kevin Love
Ryan Rainey
Amy Baumgartle
Kimmie Glover
Carissa Martin
Kirtin Rosbottom
Brian Bierman
Lindsay Graeter
Sagan Massey
Mary Sesar
Krista Bowen
Chris Grimm
Frank Mathews
Andrea Smith
Mary Breeden
Marla Hackworth
Julia McCormick
Tiffany Souder
Ricky Brewer
Kierstin Hall
Megan Meyer
Amanda Spainhour
Annie Briscoe
Billy Heil
Claire Mistier
Alei Stivers
Eric Cooper
Rachael Henshaw
Nicole Mitchell
Erick Walts
Ashley Davis
Brittany Hornsby
Lisa Nelson
Nathen Weldon
Samantha Dean
Kasey Johnson
Alex Nicholson
Renee Werner
Pamela Elmore
Briana Keller
Nick Oxley
April Wiggington
Westley Fair
Hannah Keller
Zach Oxley
Ryne Wilson
Shikara Finley
Josh Kornberg
Tori Pollard
Sarah Flaherty
Amber Long
Sasha Quinley
Camerata Singers
Jessica Anderson
Ashley Cobb
Jordan Jackson
Holly Poole
Marcy Beauchamp
Santana Divine
Lori Jeffries
Chelsea Rogers
Krista Beickman
Sarah Doyle
Amy Lange
Chloe Sharp
Ann Bennett
Theresa Espinosa
Cayla Lile
Crystal Sharp
Briana Bixler
Hannah Ganote
Kayla Mason
India Smith
Iva Brooke Bowen
Brittany Harvey
Elise McCulloch
Trista Tankersley
Lindsey Brown
Courtney Henderson
Marilyn Medley
Cara Lee Walker
Courtney Burrage
Sharleeka
Brandi Muir
Rebecca Walker
Miranda Byerly
Henderson
Brittany Murphy
Carra Watson
Elizabeth Carter
Britney Henson
Sarah Nale
Shawn Willinghurst
Amber Chasse
Brittany Hentrup
Lori Oesterritter
Kendra Willis
Chelsea Cotner
Anna Huddleston
Charmaine Pitney
Acappella Singers
Angelica Alexander
Shameana Douglas
Walter Baynard
Amanda Durham
Brittany Bennett
Jenna Endres
Linda Best
Candace Eurton
Krista Bowen
Westley Fair
April Boyd
Kymberly Falcone
Mary Breeden
Cody Foster
Andria Briscoe
Abigail Gahan
Caitlin Burns
Chris Gardner
Gwendolyn
Leslie Gardner
Carnighan
Allison Hack
Toni Carroll
Marla Hackworth
T.J. Cotner
Cameron Hobbs
Samantha Crowe
Brett Howard
Stephanie Denhard
Angela James
Ozzie Douglas
Marlea Jenkins
Saleah Douglas
Sara King
Boogie Lesse
Crystal Popp
Phillip Lewis
Adam Raque
Hanna Lohmeyer
Kyle Ratliff
Kevin Love
Jordan Reid
Adam Lutz
Hilary Reinen
Sydney Magers
Elly Ross
Malinda Martin
Ashley Sewell
Marisa Masaniai
Lynell Shope
Julia McCormick
Bobbi Skeens
Lauren Messer
Savannah Stephens
Zach Miller
Amaris Stephenson
Heather Mott
Morgan Sullivan
Alex Nicholson
Erick Walts
Nick Oxley
Ashley Willinghurst
Zach Oxley
Ryne Wilson
Barry Phillips
Hannah Zellers
Lauren Padgett
audience
A-11
LOUISVILLE r
H IGh(
ORCHESTRA
RFORMANCE
RAYMOND LEPPARD, Artistic Advisor
BOB BERNHARDT, Principal Pops Conductor
ROBERT FRANZ, Associate Conductor
Saturday, February 18, 2006 • 8 p.m.
The Louisville Palace
BOB BERNHARDT, Conductor
ARTGARFUNKEL, Guest Artist
Program
CLAUDE SCHOENBERG, Selections from Les Miserables
arr. Lowden
FELIX MENDELSSOHN Wedding March from
A Midsummer Night’s Dream, op. 61
MAURICE RAVEL Two Excerpts from Mother Goose
1. Laideronnette, Empress of the Pagodas
2. The Enchanted Garden
- Intermission -
An Evening with
ARTGARFUNKEL
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nCFICIAI HOTEL OF THE LOUISVILLE ORCHESTRA.
Kgntucky^
THE KENTUCKY ARTS COUNCIL
Please switch off the electronic signal on
The use of cameras
your cellular phone, watch, or pager before the concert begins,
and recording devices is strictly prohibited.
AUDIENCE
A-13
BOB BERNHARDT, Principal Pops Conductor
Robert Bernhardt,
Principal Pops Conductor,
celebrates his 25th anni¬
versary with the Louisville
Orchestra this season. He
began as Assistant
Conductor in 1981,
served as the Orchestra’s
Associate Conductor for most of the 1980s,
and has worked with the Orchestra in
every season since.
Bernhardt is also Music/Artistic
Director of the Chattanooga Symphony and
Opera, one of two combined companies in
the United States.
As comfortable in the opera pit as on
the concert stage, Maestro Bernhardt has
conducted numerous operas and opera
galas. He conducted productions with the
Kentucky Opera for eighteen consecutive
seasons and has led productions with his
company in Chattanooga since 1992. He
has guest conducted the Nashville Opera
and the Birmingham Opera Companies.
Born in Rochester, New York, Robert
Bernhardt holds a master’s degree from the
University of Southern California School of
Music, where he studied with Daniel Lewis.
He is also a Phi Beta Kappa, summa cum
laude graduate of Union College in
Schenectady, New York, where he was an
Academic All-American baseball player.
ART GARFUNKEL, Guest Artist
t Simon & Garfunkel
started performing at the
height of the folk music
boom in late 196B and
within a year were signed
to Columbia Records, who
paired them with
producer/engineer Roy
Halee. Simon & Garfunkel maintained a
tireless pace in the recording studio and on
the road, winning five Grammy awards and
reaching a wide and loyal international
audience. From 1964 to 1970 they recorded
a groundbreaking string of classic LPs and
an equally impressive body of songs, many
of which became pop standards.
In 1973, Angel Clare (US #5),
Garfunkel's long-awaited first solo album,
produced by Garfunkel and Roy Halee,
includes the top 10 hit "All I Know” written
by Jimmy Webb. This established a pattern
for Art, who unerringly chose the finest
compositions by the best songwriters for
his future albums.
On November 16th, 1998, Garfunkel
played the voice of a singing/narrator
moose for the highly-acclaimed PBS “Arthur”
children’s television series. In support of
Songs From A Parent To A Child, Garfunkel
toured the United States, Canada, Germany,
England, Sweden, Scotland, Ireland,
Portugal, Spain, Czech Republic, Japan and
Australia. In May, Garfunkel set off on his
journey to walk across Europe, beginning
at Shannon Airport, Ireland.
Following the tragic events on
September 11,2001, Art Garfunkel
performed at several functions, including
an appearance on “Larry King Live” on
November 2 in support of the victims’
survivors from the World Trade Center
attack. Garfunkel also appeared at the Old
Vic in London on November 18 for the first
major multifaith international fundraising
event, “Unite For The Future," which raised
money for three causes united by the
events of September 11.
In 2002, joined by Maia Sharp and
Buddy Mondlock, Art Garfunkel released
Everything Waits To Be Noticed, a critically
acclaimed new CD. Six of the tracks were
co-written by Art Garfunkel, including
“Perfect Moment," which was featured on
the series “Felicity.” The single, “Bounce,"
received significant airplay on Adult
Contemporary radio stations.
audience
A-14
LOUlSVILLE^vCORCHESTRA
hich( performance
/
RAYMOND LEPPARD, Artistic Advisor
BOB BERNHARDT, Principal Pops Conductor
ROBERT FRANZ, Associate Conductor
TAFEI MOTOR CO.
HILLIARD LYONS
Classics
SERIES
Thursday, March 2, 2006 • 10:30 a.m.
Whitney Hall
The Kentucky Center
Saturday, March 4, 2006 • 8 p.m.
Whitney Hall
The Kentucky Center
EDWIN OUTWATER, Conductor
JENNIFER FRAUTSCHI, Violin
Program
JOHANNES BRAHMS Academic Festival Overture, op. 80
IGOR STRAVINSKY Violin Concerto in D Major
I. Toccata
II. Aria I
III. Aria II
IV. Capriccio
Ms. Frautschi, violin
- Intermission -
JOHANNES BRAHMS Symphony No. 1 in C Minor, op. 68
I. Un poco sostenuto - Allegro
II. Andante sostenuto
III. Un poco allegretto e grazioso
IV. Adagio - Piu andante -Allegro non troppo,
ma con brio
THE KENTUCKY ARTS COUNCIL
The Galt House Hotel & Suites is the
OFFICIAL HOTEL OF THE LOUISVILLE ORCHESTRA.
EDWIN OUTWATER, Conductor
P Edwin Outwater is Resident
Francisco Symphony. As
Resident Conductor, he
works closely with Michael
Tilson Thomas, accompany¬
ing the Orchestra on tour
and conducting numerous
concerts each season. Mr. Outwater made his
subscription concert debut with the San
Francisco Symphony in October 2002,
conducting the chamber ensemble in Britten’s
War Requiem as he shared the podium with
Kurt Masur.
In the 2005-2006 season Mr. Outwater
will debut with the New York Philharmonic,
Chicago Symphony, Louisville Orchestra,
Toledo Symphony and the Festival-Institute
at Round Top.
Mr. Outwater’s work in music education
and community outreach has been widely
acclaimed. In 2004 his education programs
were given the Leonard Bernstein award for
excellence in educational programming, and
his Chinese New Year Program was given the
MET LIFE award for community outreach. At
the San Francisco Symphony, he conducts
Family Concerts, Adventures in Music
performances, which are heard by more than
25,000 students from San Francisco schools
each year, and Concerts for Kids, which serve
students from throughout Northern
California. In Florida, Mr. Outwater designed
the Florida Philharmonic Family Series and its
Music for Youth program, which was heard
annually by more than 40,000 fifth-grade
students in South Florida. He appears
frequently with youth orchestras throughout
the United States and across the world.
A native of Santa Monica, California,
Edwin Outwater attended Harvard University,
graduating cum laude in 1993 with a degree
in English literature. While at Harvard, he was
music director of the Bach Society Orchestra
and wrote the music for the 145th annual
production of the Hasty Pudding Theatricals.
He received his master’s degree in conducting
from UC Santa Barbara, where he studied
with Heiichiro Ohyama and Paul Polivinick.
JENNIFER FRAUTSCH I, Violin
An exceptionally
adventurous artist, Ms.
Frautschi’s recent seasons
have included solo recitals
of Bach, Ravel and Mozart,
extensive chamber music
appearances, a recording
of the Schoenberg Concerto
for String Quartet and Orchestra and works of
Webern with conductor Robert Craft conduct¬
ing. She also appeared at New York’s George
Crumb Festival and the Stefan Wolpe
Centenary Concerts, gave the New York pre¬
miere of Penderecki’s Sextet in Carnegie’s
Weill Hall, and gave the world premiere of
Michael Hersh’s String Octet at Merkin Hall
and his Piano Quartet at Carnegie’s Weill Hall.
Selected by Carnegie Hall for its 2003-04
Distinctive Debuts series, she made her New
York City recital debut at Carnegie’s Weill
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Recital Hall in April 2004. Additionally, as part
of the European Concert Hall organization's
Rising Stars recital series, Ms. Frautschi made
debuts in ten of Europe’s most celebrated
concert venues, including London’s Wigmore
Hall, Salzburg Mozarteum, the Amsterdam
Concertgebouw, Vienna Konzerthaus and La
Cite de la Musique in Paris.
In addition to her appearances as a
member of The Chamber Music Society of
Lincoln Center Two, this much-sought-after
chamber artist has appeared at such festivals
as Spoleto (Italy), Piccolo Spoleto (South
Carolina), Muzik3 (California), St. Barth’s
(French West Indies), Seattle and Moab (Utah).
She has also performed annually at the
Caramoor International Music Festival since
Andre Previn first invited her there as a
“Rising Star” in 1992.
Born in Pasadena, California, Ms.
E n c E
A-16
Frautschi began the violin at age three. She
was a student of Robert Lipsett at the Colburn
School for the Performing Arts in Los Angeles
and the University of Southern California
School of Music. She also attended Harvard,
the New England Conservatory of Music and
The Juilliard School, where she studied with
Robert Mann.
She performs on a 1722 Antonio
Stradivarius violin known as the “ex-Cadiz,” on
generous loan from a private American
Foundation.
PROGRAM NOTES
Academic Festival Overture, op. 80
Johannes Brahms (1833-1897)
In 1879 the University of Breslau awarded
Brahms an honorary degree of Doctor of
Philosophy, with a citation describing him, in
Latin, as “the foremost exponent of musical art
in the more strict style." His response to this
academic pomposity was not a weighty
symphony - as the University expected - but
this delightful and rollicking overture. It is full
of tongue-in-cheek references to student life
and the hedonism of youth, using themes from
four student songs from the 13th century to
the present, including the familiar “Gaudeamus
igitur" (So let us be joyful). But amid all this
frivolity, Brahms constructed a perfectly
academically correct first movement sonata-
allegro, including a grand coda. He described
the overture to a friend as “a very merry
potpourri of student songs a la Suppe.”
This piece is scored for 2 flutes and
piccolo, 2 oboes, 2 clarinets, 2 bassoons and
contrabassoon, 4 horns, 3 trumpets, 3
trombones, tuba, timpani, percussion (bass
drum, cymbals, triangle) and strings. This piece
was last performed on a Classics Series
program in the 1997-98 season.
Violin Concerto in D Major
Igor Stravinsky (1882-1971)
Late in 1930, Willy Strecker, head of the
prestigious German publishing house Schott &
Sons and Igor Stravinsky’s new publisher,
suggested to the composer that he write a
violin concerto for violinist Samuel Dushkin
(1891-1976). The whole enterprise was to be
financed by Dushkin’s patron, Blair Fairchild,
himself a composer and pianist from a well-to-
do family.
Stravinsky, suspicious of virtuosos and
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disliking empty virtuosity, demurred, especially
when Strecker suggested that Dushkin help
him with the technical aspects of violin
playing. But eventually he relented and met
Dushkin, with the result that the two became
close friends. The concerto became a
cooperative enterprise, composer and violinist
conferring closely on the fine points of
technique and expression. As Dushkin wrote:
“My function was to advise Stravinsky how his
ideas could best be adapted to the exigencies
of the violin as a concert display instrument.”
Stravinsky finished the Concerto in
September 1931, and Dushkin premiered it a
month later with the composer conducting the
Berlin Radio Orchestra. At the head of the score,
Stravinsky thanked the violinist profusely (or his
help. During the same period, he composed
several more pieces for Dushkin, including an
arrangement for violin and piano of selections
from the ballet Pulcinella, entitled Suite
italienne, and the Duo for Violin and Piano.
Then the two went on tour through Germany,
where they received enthusiastic reviews-
ironically, on the eve of Hitler’s election as
chancellor and the demise of musical
modernism in Germany until after the war.
Stravinsky always insisted that “Rhythm
and motion, not the elements of feeling, are
the foundations of musical art.” This
philosophy is readily apparent in the Violin
Concerto. The composer maintained that the
Concerto was composed in homage to J.S.
Bach, especially to the Concerto for Two Violins
in D Minor, BWV1043, which is reflected in the
last movement, where he inserted a duet
between the soloist and a violinist from the
orchestra. Opposed to violin virtuosity for its
own sake, Stravinsky wrote no cadenza.
The Violin Concerto belongs to
Stravinsky’s neoclassical period, which followed
upon World War I and the long, fruitful early
E N c E
A-17
“Russian" period of the great ballets Firebird,
Rite of Spring and Petrushka. By contrast,
Stravinsky’s neoclassicism returned to classical
forms and literary themes (such as the opera
Oedipus Rex and the ballet Apollo) upon which
he superimposed his distinctly angular melodic
and rhythmic signature.
The Concerto opens with a widely spaced
triple-stopped chord that Dushkin initially told
the composer was impossible to play. Stravinsky
called it “a passport to the music” and obviously
prevailed; it is repeated throughout the work,
most notably at the beginning of each
subsequent movement. The first movement,
Toccata, is in classic sonata allegro form with a
wide array of diverse themes and textures.
Stravinsky gives the two middle move¬
ments the title “Aria,” recalling their Baroque
antecedents in the da capo (ABA) arias that
were de rigueur in both opera and Bach’s
cantatas. In the first Aria, a reference to Bach is
apparent in its canonic counter-point; in the
second one, a poignant adagio theme and
sinuous contrapuntal lines in the violin take a
backward look at Bach’s most emotive writing.
Likewise, the finale, Capriccio, contains spiky
Stravinsky lines along with contrapuntal duets
between the violin and orchestral soloists. The
frequent changes in texture, melodic line and
meter illustrate the aptness of the title of the
movement.
Scored for 2 flutes and piccolo, 2 oboes
and English horn, 2 clarinets and E-flat clarinet,
3 bassoons and contrabassoon, 4 horns, 3
trumpets, 3 trombones, tuba, timpani, bass
drum and strings. This piece was last
performed on a Classics Series program during
the 1979-80 season.
Symphony No.1 in C Minor, op.68
Johannes Brahms (1833-1897)
“You don’t know what it is like always to hear
that giant marching along behind me,” Brahms
wrote to the conductor Hermann Levi, in
reference to Beethoven. As a classically oriented
composer who revered Beethoven, Brahms
found that writing a symphony was a daunting
proposition. It took fame, respectability, middle
age and numerous false starts before he finally
finished his First Symphony at age 43, after at
least 14 years’ gestation. An earlier attempt at a
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symphony, in 1854, ended up, after numerous
transformations, as part of the d minor Piano
Concerto and the German Requiem.
Despite Brahms’s reputation and the
positive anticipation of the public, the
Symphony, premiered in 1876, was at first
coolly received. The rigorous classical form
baffled the public and critics, who expected
something more romantic and innovative.
Wagner, Liszt and programmatic music were all
the rage; and most critics considered the
classical form backward looking and reactionary.
But it was not long before the Symphony's
riveting power was recognized, along with its
own contribution to symphonic innovation.
If, indeed, the First Symphony cannot
strictly be considered program music, it
nevertheless unfolds with great drama - even,
one might say, a musical plot. When listening
to Brahms’ First, one can easily imagine the
composer’s reticence at treading in the great
man’s shadow. Nevertheless, his combined
sense for musical drama and structure prevailed
as he launched what conductor Hans von
Biilow called “The Tenth.” Only Mendelssohn in
his Symphony No. 3, “The Scottish,” had trod
that path.
The ominous pounding of the timpani
under slow ascending and descending
chromatic scales, fragmentary motives and the
ambiguous tonality of the Introduction poses a
musical question - actually more of a demand
- that remains unresolved until the final
movement. It is one of the most spine-chilling
introductions in all of classical music, made
more so by the contrast of the oboe and flute
solos within it. The following Allegro fleshes out
motives from the Introduction into full-fledged
themes, first by combining them
contrapuntally, then developing them with an
almost savage energy that obscures the
traditional sonata form.
The middle two movements are a respite
from the drive of the first, but even the
Andantesostenuto second movement in E
major quickly slips back into the minor. The
oboe solo at the beginning is an inexact recall
of the solo for the same instrument in the
introduction, beginning what becomes a
pattern for Brahms in this symphony of
foreshadowing and recalling motivic elements
from movement to movement. He also quotes
E N C E
A-18
from the Allegro as well, and shortly afterwards,
he hints at the main theme of the third
movement to come in a brief duet for flute and
oboe. All in all, it is lovely, if melancholic, and
still fraught with the unresolved tension of the
work as a whole.
The third movement, which normally
would have been a scherzo, is more of an
intermezzo that opens with a lilting clarinet
theme, suggested already in the preceding
movement. The contrapuntal accompaniment
to the repeat of the clarinet theme after the
Trio foreshadows the chorale theme from the
Finale.
A rumbling timpani now returns us to the
serious business of resolving the tensions
raised in the first movement, and the
resolution appears none too optimistic with its
creeping pizzicato strings and sforzando
appoggiaturas in the winds. A reprise of the
first movement Allegro reminds us where we
left off, but suddenly, as if from behind a cloud,
an alpenhorn calls out, answered by the flute,
turning the turgid C minor into a resounding C
major chorale.
The alpenhorn solo has its own little
history. In 1868, eight years before the
Symphony was premiered, Brahms had
quarreled with his friend, and probably secret
love, Clara Schumann, about whether she
should cut back on her concertizing to spend
more time at home with her eight children.
That September, he sent her a mollifying
postcard with the alpenhorn theme scrawled
on it to the words: “High on the mountain,
deep in the valley, I greet you a thousand fold.”
Of course, the introduction of the chorale
tune is not the final statement. Brahms develops
it and a series of subsidiary themes with
emotional force, but with less brutality than
the first movement. The chorale does battle
with the music from the stormy introduction to
emerge triumphant in an exultant coda.
Scored for 2 flutes, 2 oboes, 2 clarinets,
2 bassoons and contrabassoon, 4 horns,
2 trumpets, 3 trombones, timpani and strings.
This piece was last performed on a Classics
Series program in the 2000-2001 season.
~ Joe & Elizabeth Kahn
Word Pros, Inc.
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3
O
The Jewish Commitnitjj Center
Orchestra
February 19 • 7:30 p.m.
Bellarmine University, Cralle Theater
Prelude to the Afternoon of a Faun, Debussy
Symphony 5, Tchaikovsky
Aaron Boaz, Music Director
Tickets. 459-0660 x O
Individual $10 / Students $5
The Jewish Community Center Orchestra is funded in port by: ■
• Arthur D. Kreitman Jewish Music Fund ■ Leon T. 6■ Urscl Etchengreen FuJts Mttstc run
AUDIENCE
A-19
School of
music
IMVERSITYqf lOUISflLLE.
^ ~~ ■
dare to be great
The University of Louisville
Cardinal Singers
Kent Hatteberg, conductor
Kentucky Music Educators Association
In-Service Conference
Kentucky International Convention Center
Room 207-211
Louisville, Kentucky
February 10, 2006
12:20 P.M.
The University of Louisville Cardinal Singers
Kent Hatteberg, conductor
Program
Laudate Dominum (1997)
[Lithuanian Music Anthologies, Lithuanian Music Information
GiedriusSvilainis
and Publishing Centre] (b. 1972)
Blagoslovf, dushe moya, Ghospoda (All-Night Vigil) (1915)
[Musica Russica Ra 024]
Sergei Rachmaninoff
(1873 - 1943)
Hymne a Saint Martin (1996)
[Laurendale Associates CH-1236
or Sema Edition, Vilnius
Vaclovas Augustinas
, Lithuania] (b. 1959)
Laudate pueri, Dominum (2003) Vytautas Miskinis
(Composed for Kent Hatteberg and the University of Louisville Cardinal Singers) (b 1954)
[Edition Ferrimontana EF 2929, Frankfurt am Main]
Villarosa Sarialdi (Villarosa Sequenses no. 3) (1993)
[Warner/Chappell Music Scandinavia WCM 1600254
administrated by Gehrmans Musikforlag, Stockholm]’
Thomas Jennefelt
(b. 1954)
El Manisero (1928, arr. 1996)
[peermusic 62054-121]
And So It Goes (1983, arr. 1992)
Peter A. Lovett, baritone
[Hal Leonard 08758501]
Moises Simons
(1889-1945)
arr. Tania Leon (b. 1943)
Billy Joel
(b. 1949)
arr. Bob Chilcott (b. 1955)
Oiga, compae (1997)
(Preludio y fugo sobre un tema de Manuel Briceno)
[earthsongs S-124]
Cesar Alejandro Carrillo
(b. 1957)
University of Louisville Cardinal Singers
Kent Hatteberg, Director
Soprano I
Kelly Ballou Louisville, KY
sophomore, vocal performance
Amanda Tarryn Bryant Houston, TX
junior, music education
Hllifang Chen Taipei, Taiwan *
graduate, choral conducting
Stephanie Mattingly Louisville, KY
continuing studies, BA in music/humanities, UofL
Alexis Paxton Orange, TX
choral director: Noe Middle School
MM in Choral Conducting, UofL
Soprano II
Alane Hart Lexington, KY
freshman, music therapy
Emily McCollough Macomb, IL
senior, music education
Amy Parker Cuenca Frankfort, KY
choral director: Bullitt Central HS. BME, UofL
Jessica Towse Ashland, KY*
graduate, choral conducting
Alto I
Kristin Hale Louisville, KY
senior, vocal performance/music education
Amanda Harless Elsmere, KY
freshman, undeclared
Eva Marie Morse Louisville, KY
BM, vocal performance, UofL
Sarah Elizabeth Patrick Sharon, MA
senior, vocal performance
Alto II
Mary Beth Harris Harlan, KY
senior, vocal performance
Emily Malone Owensboro, KY
junior, undeclared
Emily Neubauer Fisherville, KY
junior, BA music
Tamara Stewart living, TX
MM in Choral Conducting. UofL
Tenor I
Bill Coleman Chicago, IL
sophomore, music education
Joshua Hein LaCrange.KY
junior, music education
Clayton Rogers Louisville, KY
freshman, music education
Kevin Sproul Lexington, KY
junior, business management
Tenor II
William Thomas Mills II, Mr. Vernon, KY
BME UofL
Justin T. Romney Clarksville, IN *
graduate, choral conducting
Hanpill Ryu Seoul, South Korea*
graduate, choral conducting
Seung Yong Shin Seoul, South Korea*
graduate, choral conducting
Bass I
James Russell Cooper Louisville, KY
senior, music education/Spanish
Peter A. Lovett Louisville, KY
music dir.: CANA (New Albany) MM/CItor. Cond., UofL
Benjamin D. Powell Louisville, KY*
graduate, choral conducting
Christopher R. Shortt Nottawa, Ontario
junior, music education
Bass II
Austin H. Echols, Jr. Erlanger, KY
sophomore, BA music
R. Andrew Fowler Louisville, KY
senior, BA music
Brett McDermid St. Cloud, MN
BA in theatre, Concordia College
Ben Riley Georgetown, IN
freshman, engineering
Barrett Smith Georgetown, IN
senior, BA music industry
*Graduate Students in Choral Conducting
Laudate Dominum (1997)
Giedrius Svilainis
Lithuanian composer Giedrius Svilaims graduated in 1998 from the Lithuanian Academy of Music, where he studied choral
conductin'* with Jurijus Kalcas (1992-98) and composition with Osvaldas Balakauskas (1994-98). In 1994, he was
awarded 3rd Prize at the Juozas Naujalis Contest for young choirmasters in Vilnius. In 1994 he became choirmaster of the
Vilnius m i X ed choir and leader of the Skroblas mixed choir, and since 1996 has been a member of the Jauna muzika
chamberchoir conducted by VaclovasAugustinas. In 1994-97, he organized Young Composers’Days in Panevezys, and
presently is one of the organizers of Youth Chamber Music Days in Druskininkai. In 2004 he became artistic leader of the
State Song and Dance Ensemble Lietuva.
The works of Svilainis were featured at contemporary music festivals in Lithuania (Kopa, 1994; Leliumai, 1997; Musica+,
1997; Youth Chamber Music Days, 1995, 1998-2002, 2004; Jauna muzika/e-muzika, 2002; Gaida, 2004) and the
international choral festivals in Rottenburg (1995), Salzburg (1997), Rome (2002), and the J.S. Bach and B. Bartok
Festival (Italy, 2000). Featuring his compositions O quam tristis and Laudate Dominum, the Vilnius-based chamber
choirs Psalmos and Brevis were prizewinners at the international choral contests in Switzeiland, Austria, and Italy.
Probably the most important part of the composer’s oeuvre comprises sacred choral works which have been performed
by numerous choirs from Lithuania and abroad. Svilainis strives to write expressive, colorful and effective works, often
blending serious and popular music idioms. The Collegiate Chorale performed his O quam tristis for mixed choir at the
New Music Festival in 2000.
Laudate Dominum, composed for six-part choir, is in five distinct sections. Its rhythmically-charged opening alternates
between sung and shouted text over changing time signatures. A brief five-voice fugato follows, featuring a subject made
up largely of leaps of fourths and fifths, then combining voices antiphonally in parallel fourths and fifths. The third section,
rooted in Gregorian chant, features first the tenors, followed by sopranos in organum-like homophony. The lyrical fourth
section builds to forte, then fades as the text is whispered in the women’s voices. The rhythmic Gloria Patri section
begins pianissimo in the men’s voices, accompanied by tambourine, while the whispers dwindle. As the women’s voices
join the men, the intensity builds to a joyous fortissimo conclusion.
Laudate Dominum omnes gentes;
laudate eum, omnes populi.
Quoniam confirmata est
(super nos misericordia ejus.)
Et veritas Domine manet in aeternum.
Gloria patri et Filio,
et Spiritui Sancto,
Laudate Domino.
O praise the Lord, all ye nations;
praise him, all ye peoples.
For bestowed has been
(upon us his loving kindness.)
And the truth of the Lord endures for ever
Glory be to the Father, and to the Son,
and to the Holy Spirit.
O praise the Lord.
Blagoslovi, dushe moya, Ghospoda (All-Night Vigil) (1915) Sergei Rachmaninoff
Sergei Rachmaninoff composed the All-Night Vigil in less than two weeks in January and February 1915. The work is
icated to the memory of Stephan Smolensky, under whom Rachmaninoff had studied ancient chant. The work, also
nown as the Vespers, is a setting of chants from three separate services - Vespers, Matins, and Hours - to be performed
q 0 6 fa 6 ° ^ cons ^ st:s of fifteen a cappella movements, with six movements based on znamenny chant (7,8,
y, 12,13, and 14), two on “Kiev” chant (4 and 5), two on “Greek” chant (2 and 15), and five original but heavily chant-
lfr U ffff anc * 1 wor k, lasting approximately 60 minutes, was premiered in Moscow on
. ’ un er lhe direction of Nicolai Danilin, and was performed five more times within the next month. It is
considered by many as the pinnacle of Orthodox church music.
With the increasing turmoil of the Bolshevik Revolution in 1917, two years after the premiere of the All-Night Vigil,
emigrated to New York. The Liturgy was banned in Russia for some seventy years; therefore, performances
i were rare. All-Night Vigil was not recorded until 1957, several years after Rachmaninoff’s death.
Blagoslovi, dushe moya, unospoda is the second movement of the All-NiphtVioii t c ,
homophonic, tonal in harmony, with mostly stepwise motion The voS° f “ i$ lar ^
sustained notes and chords, parallel voice leading is common,
cally. It is set for alto solo and chorus, but in our performance the alto solo is performed by the emir "to seTon
Rachmaninoff explo.ts the varytng ranges of the choir, from four-part women over a drone in the first tenor to the «of
basso prof undo notes coming to rest at a low C at the close of the movement.
Blagoslovi, dushe moyd, Ghospoda.
Blogosleven yesi, Ghospodi.
Blagoslovi, dushe moyd, Ghospoda.
Bozhe moy, vozvelichilsia yesizelo.
Blagosleven yesi, Ghospodi.
Vo ispovedaniye i v velelepotu obleksia yesi.
Blagosleven yesi, Ghospodi.
Na gorcih stdnut vodi
Divna deld Tvoya, Ghospodi.
Posrede gor proydut vdd'i.
Divna deld Tvoya, Ghospodi.
Fsia premudrostiyu sotvonl yesi.
Slava 77, Ghospodi, sotvorivshemu fsia.
Bless the Lord, 0 my soul.
Blessed art Thou, O Lord.
Bless the Lord, 0 my soul.
My Lord, how great Thou art.
Blessed art Thou, 0 Lord.
Thou art clothed with gloiy and majesty.
Blessed art Thou, O Lord.
The waters stood above the mountains.
Glorious are Thy works, 0 Lord.
The waters flowed through the mountains.
Glorious are Thy works, 0 Lord.
In wisdom hast Thou made them all.
Glory to Thee, 0 Lord, who has created all.
Hymne a Saint Martin (1996)
Vaclovas Augustinas
Vaclovas Augustinas graduated from the Lithuanian Academy of Music in choral conducting (1981) and in composition
(1992), where he studied under Professor Julius Juzeli. From 1980 to 1992 he worked at the “Azuoliukas” Music School
and since 1992 has directed the famed Vilnius Municipal choir Jauna Muzika, an ensemble that appeared at the 5 th World
Symposium on Choral Music in Rotterdam in 1999. In 1993 he participated as a guest conductor in the Swedish National
Choral Conductors Convention in Vaxjo. Since 1996 he has been a professor at the Lithuanian Music Academy and
Vilnius Pedagogical University, teaching choral conducting, choral arranging, and ear training and sight-singing. He has
won several national and international competitions in choral composition, including “Florilege Vocal de Tours” in France
and the Lithuania National Song Festival Award.
Hymne a Saint Martin was the third prize winner in the International Competition of Choral Composition “Florilege Vocal
de Tours” in 1996. The piece was written on the occasion of the 1600 111 anniversary of the death of Saint Martin ofTours,
patron of France, father of monasticism in Gaul, and the first leader of Western monasticism. St. Martin founded the
famous Abbey of Marmontier near Tours. He was known as a miracle worker during his life, and was one of the first non¬
martyrs to be publicly venerated as a saint. In France he has always been one of the most popular saints; his honorary feast
day in the Roman Catholic Church calendar is November 11. The Cardinal Singers had the privilege of singing this piece
under the composer’s direction in a sacred concert during the International Chamber Choir Competition in Marktoberdorf,
Germany, where he served on the adjudication jury. The Choral Department commissioned Mr. Augustinas to compose a
setting of Lux Aetenia, which was premiered by the Collegiate Chorale at the New Music Festival in November 2004.
O virum ineffabilem, nec labore victum,
nec morte timendum, qui nec mori timuit,
nec vivere recusavit, alleluia.
Oculis et manibus in caelum semper intentus,
in victum ab oratione spiritual
non relaxabat, alleluia.
Martinas Abrahae shut laetus excipitur:
Martinas, hie pauper et modicus,
caelum dives ingreditur,
Hymnis caelestibus honoratus. Alleluia.
Oh, man unsullied and invincible by wo/k,
fearless of death, who hasn’t dread of death,
not declined of life, alleluia.
Eyes and aims always turned to the heavens,
not overcoming by the spirit of piayei,
and not wearied, alleluia.
Martin, beaming with joy of Abraham,
Martin, he is poor and modest,
stepping rich to the heavens,
honored with hymns of heaven. Alleluia.
Laudate pueri, Dominum (2003)
i r r/-..
(composed for Kent Hatteberg and the Cardinal Singers of Louisville)
Vytautas Miskinis
Lithuanian composer Vytautas Miskinis entered the Azuoliukas Boys Choii at the age of seven, and became its artistic
director at 25. He graduated as a Choral Conductor from the Lithuanian Academy of Music in 1976. He conducted the
Kaunas’ State Choir and the Vocal Ensemble Museum musician for several years, and won prestigious awards at numer¬
ous national and international competitions with the choirs. He is currently Professor ol Choral Conducting at the Lithuanian
Academy of Music. He serves as President of the Lithuanian Choral Union and is the Artistic Director and Chief Conduc¬
tor of the All-Lithuanian Choral Festival. He has lectured and held seminar s on the music education and conducting in
Lithuania and abroad, and has frequently participated in national and international choral events as composer, adjudicator,
and advisor. Most recently he was engaged as composer-in-residence at the Bayerische Musikakademie Marktoberdorf
in southern Germany. His compositions include over 100 motets, thirteen masses, a Magnificat, and approximately 300
secular songs. His compositions are published in Lithuania as well as in France, Germany, Italy, Spain, and the USA.
In 2003, Professor Miskinis dedicated Laudate pueri, Dominum to Dr. Hatteberg and the Cardinal Singers. The School
of Music’s choral department has previously commissioned two works from Mr. Miskinis: the Nunc Dimittis for the
Collegiate Chorale in 2002 in honor of Dr. Herbert Koerselman’s service and contributions to the University of Louisville
as Dean of the School of Music, and Ever In My Life, which was premiered in July 2004 by the Cardinal Singers at the
International Choir Olympics in Bremen, Germany in the presence of the composer. Mr. Miskinis has on two occasions
served on the jury in competitions entered by the Cardinal Singers. They performed Laudate pueri, Dominum at the
Harmonie Festival in Lindenholzhausen, Germany last May and were awarded a special prize for the outstanding interpre¬
tation of a world premiere.
Laudate pueri, Dominum is set for a chorus of eight-parts, moving at times homophonically in large block chords,
sometimes imitatively, and sometimes antiphonally between the men’s and women’s voices. A series of major keys,
beginning in G major, then moving through A, D-flat, B-flat, G F, C, and finally back to G major, portray the triumphant
exultation of the Psalm text. Miskinis’s characteristic 7 th , 9 th , and 13* chords, chords in second inversion, cross-relation-
ships, and superimposed major chords add flavor to the harmonies.
Laudate, pueri, Dominum;
laudate nomen Domini.
Sit nomen Domini benedictum
ex hoc nunc et usque in saeculum.
A solis ortu usque ad occasion
laudabile nomen Domini.
Excelsus super omnes gentes Dominus,
et super caelos Gloria eius.
Quis sicut Dominus Deus noster,
qui in altis habitat,
et humilia respicit
in caelo et in terra?
Praise, o servants of the Lord,
praise the name of the Lord.
Let the name of the Lord be praised,
both now and evermore.
From the rising of the sun to the place where it sets,
the name of the Lord is to be praised.
The Lord is exalted over all the nations,
his glory above the heavens.
Who is like the Lord our God,
the one who sits enthroned on high,
who stoops down to look
on the heavens and the earth?
Suscitans a terra inopem,
et de stercore erigens pauperem,
ut collocet eum cum principibus,
cum principibus populi sui.
Qui habitarefacit steilem
matrem filiorum laetantem.
He raises the poor from the dust
and lifts the needy from the ash heap;
he seats them with princes,
with the princes of their people.
He settles the barren woman in her home
as a happy mother of children.
(Psalm 113)
Villarosa Miimui v t ucijucnses no.
Thomas Jennefelt
Thomas Jennefelt was born in Huddinge, Sweden. He studied composition with Gunnar Bucht and Arne Melinas at the
Royal College of Music in Stockholm from 1974 to 1980. He was a choral singer for many years, and in his oeuvre them
is a noticeable concentration on vocal music, ranging from choral music to opera. An early success among his choral works
was Warning to the Rich horn 1977, which has since been performed all over the world. Another of his choral works 0
Domine, written in 1983, is also widely popular. Dichterliebe (I-X) was completed in 1990 and the Swedish Radio Choir
gave the premiere performance the same year.
In recent years Jennefelt has been involved in several musical drama projects. He has written incidental music to produc¬
tions at the Royal Dramatic Theatre and in 1985-86 he composed the radio opera Albert and Julia. The full-length opera
Gycklarnas Hamlet (The Jester s Hamlet) was wi itten in 1987-89, commissioned by the Gothenburg Opera and first
performed in December, 1990. His chamber opera Farkosten (The Vessel), which he composed in 1993-94 to his own
libretto, was premiered in Copenhagen in 1994, and his orchestral work Musik vid ett berg (Music by a Mountain), was
given its premiere performance in October, 1992. Jennefelt’s chamber music includes Musik till en katedralbyggare
(Music to a Cathedral-Builder) from 1984, Far vidare fardman (Continue on your Way, Travellers) for mezzo-
soprano, baritone, cello and piano, which was completed in 1985, and the string sextet Svarta spar (Black traces) from
1990. Jennefelt was chairman of the Society of Swedish Composers from 1994 to 2000.
Villarosa sarialdi was composed in 1994. Instead of being governed by the interpretation of a text, Jennefelt wanted his
composition to be shaped by the needs of the choir and its voices. He thus first wrote the music, then wrote his own
nonsense text for it, removing any issues of linguistic meaning or text painting. The text may look like some strange form of
Italian or Latin, but in fact means nothing at all. In the words of one reviewer: “This heavily minimalist work weaves quite
a haunting spell.”
Ori vidi anoori vidi cinori vidiri oriano avi anori vidia avidi.
Ano oro ori ano, ano ari.
Veni arisao, sao, sao, sari, sari, sao, sao,
sarialdi, sarialdi, sari sari,
sarialdi villarosa, villarosa augen tauri,
intrevi falavi no, falavi, falivi no.
Arimalorio, arimalorio.
Arima lotidiante forum,
queria etfalavino augem,
locus, locus vicinovo, sulaterna vexitilla
arima lotidiante forum.
Queria etfalavino augem,
locus, locus vianovo sulaterna vexit ilia traudi corum alustaii,
via novo via,
intrevi falavi no,
augem pulsarialdi locus et sambandi
nopulsasarialdi helenami.
Novo, novo,
Arimalori, loriosa augempulsari locus locus
avendi novo larem viam.
Avendi novo viam, avendi novo viam.
Lao.
(meaningless text by Thomas Jennefelt)
El Manisero (1928, arr. 1996) Moises Simons, arr. Tania Leon
Moises Simons, a native of Havana, Cuba, was widely known in Car ibbean countries and Latin America as a composer
bandleader, and pianist. El Manisero, his most famous song, was supposedly composed late one night in 1928 on a
napkin while he was in a Havana tavern, having been inspired by a passing peanut vendoi who was singing aj Oregon (jingle)
to sell his cucuruchos de mam (paper cones filled with peanuts).
Composer and conductor Tania Leon, also a native ol Havana, came to the United States in 1967, becoming a founding
member and first musical director of the Dance Theatre of Harlem in 1969. She has since been active as a composer and
conductor, and has served as an advisor to numerous arts organizations. Her opera Scourge of Hyacinths has received
over 22 performances in Germany, Switzerland, France and Mexico. Based on a radio play by Nobel Prize-winner Wole
Soyinka, Scourge of Hyacinths was commissioned in 1994 by the Munich Biennale, where it won the BMW Prize as best
new opera. In 1998 she was awarded the New York Governor’s Lifetime Achievement Award. She has received Honor¬
ary Doctorates from Colgate University and Oberlin College and awards from the American Academy of Arts and Letters
National Endowment for the Aits, Chamber Music America, NYSCA, Lila Wallace/Reader’s Digest Fund, ASCAPand
Koussevitzky Foundation, among others. In 1998 she held the Fromm Residency at the American Academy in Rome She
was a Visiting Lecturer at Harvard University and Visiting Professor of Composition at Yale University.
Ms. Leon arranged El Manisero in 1996 for Chanticleer, who recorded it on their 1997 compact disc Wondrous Love
The arrangement is in twelve parts, with ostinato bass lines, vocal percussion sounds dispersed among tenor and alto parts
supporting the melodic material, found mostly in the soprano parts.
Mani, mam, mam
Que si te quieres por el pico divertir,
Comprame un cucurichito de mani.
Mam, mam, mani
Caserita no te acuestes a dormir,
Sin comer un cucurucho de mani.
Que calentico y rico estd
Ya no se puede pedir mas.
Ay caserita no me dejes ir
Porque despues te vas a arrepentir
Y va ser muy tarde yd.
Manisero se va
Case} ita no te acuestes a dormir,
Sin comer un cucurucho de mam.
Cuando la calle sola estd
Casera de mi corazon,
El Manisero entona su pregon
Y si la niiia escucha mi cantar
Llama desde su halcon.
Dame de tu mani
Que esta noche no voy a poder dormir
Sin comer un cucurucho de mani.
Mam, mam, mani...
Peanuts, peanuts, peanuts.
So if you want through your mouth to have fun,
buy me a little bag of peanuts.
Peanuts, peanuts, peanuts.
Little housewife don’t go to sleep tonight
without eating a little bag of peanuts.
They are so warm and delicious
that one can’t ask for more.
Ay, little housewife don’t let me go
‘cause then you ’ll be sorry
and it will be too late.
Peanut vendor is leaving!
Little housewife don’t go to sleep tonight
without eating a little bag of peanuts.
When the street is deserted
little housewife of my heart,
the peanut vendor sings his song
and if a little girl hears my singing
she beckons from her balcony.
Give me some of your peanuts
cause tonight I won't be able to go to sleep
without eating a bag of peanuts.
Peanuts, peanuts, peanuts. . .
(English translation by Tania Leon)
(Text by Moises Simons)
— /
And So It Goes
"-, v^uncott
pianist, singer, and songwriter Billy Joel is well-known to audiences of popular music around the world His p ,
included stints with the rock band The Echoes, wh.ch was later transformed into The
drummer Jon Small. He attained stardom as a solo performer in the 1 970’s with such hits Jp - „ a ’ 3 du0 Wlth
^heWay You Are (1978), from the album The Stranger. A string of hits
Be Right. Uptown Girl. Tell Her aboul It, Leave a Tender Moment Alone, An Innocent Man m d tZT*
have kept him at the forefront of the pop scene. Man ' and The ^mgest Time
Joel wrote And So It Goes in 1983 and recorded it on his 1989 album Storm Front. BobChilcott former memher of th.
King’s Singers and an active choral arranger and conductor in Britain, arranged it in six parts'for the Kina’s Sinners
Anniversary Jubilee celebration in 1992. 6 b b
Oiga, compae (1997) Cesar Alejandro Carrillo
(Preludio y fugo sobre un tema de Manuel Briceno)
Cesar Alejandro Carrillo graduated from the Institute) Universitario de Estudios Musicales in Caracas, receiving his
“license in music” with emphasis in choral conducting. He has done special studies with diverse international conductors
such as Robert Sund (Sweden), Vic Nees (Belgium), Alice Parker (U.S.A.), and Ernani Aguiar (Brazil). He studied
composition with renowned Venezuela pedagogue and composer Modesta Bor.
Mr. Carrillo is founder and conductor of Cantarte Coro de Cdmcira and assistant conductor of Orfedn Universitario de
la UCV. Cantarte was chosen to perform at the Musica Popular Caribena in the Festival America CantatHI, cel¬
ebrated in Caracas in 2000. He is in demand as an adjudicator and guest conductor. He has directed important choral
gatherings both in Caracas and surrounding areas, and has represented Venezuela internationally through concerts and
seminars in Europe, Asia, and America. He is considered one of Venezuela’s most important composers and arrangers,
and his works have received numerous prizes in composition contests.
Volume Three of the book Choral Music of Latin American Authors contains Mr. Carrillo’s choral works to date. His
music is published by the Santa Barbara Music Publishing and earthsongs.
Llora, llora, guitarrita,
acompaha mi dolor,
acompahame, se robaron
mi burrita, mi cobija,
mi machete y mi mujer.
Oiga, compae, que mire como son las cosas,
caramba se robaron mi burrita,
mi cobija, mi machete y mi mujer,
ay! compae, car ay! ay! mi compae.
Esta si que es una lava,
caramba, que no la puedo entender,
compae, que se roben mi burrita, mi cobija,
mi machete y mi mujer.
Que mire como llora, llora,
llora guitarrita mi dolor,
se r °baron mi burrita,
mi cobija, mi machete y mi mujer.
Carav!
It is crying, crying, my guitar
accompanying my pain,
accompanying me, they have been stolen,
my she-donkey, my blanket,
my machete and my woman.
Hear my friend, look how things are,
Heck! They have been stolen, my she-donkey,
my blanket, my machete and my woman,
oh my friend, car ay! Oh my friend!
Yes, this is a huge problem,
Heck! I cannot understand this,
my friend, that my she-donkey, my blanket
my machete and my woman have been stolen.
Look how it cries, cries,
my guitar cries my pain,
they have been stolen: my she-donkey,
my blanket, my machete and my woman.
Caray!
The University of Louisville School of Music
The School of Music at the University of Louisville serves over 300 undergraduate and graduate music majors, as well as
students of other disciplines. The School offers the Bachelor of Music degree in performance, music education, music
history, music theory, music therapy, and a Master of Arts in Teaching. Students may also choose the Bachelor of Arts degree
with emphasis in music, music industry, jazz studies, composition, or early music. On the graduate level, the School offers
Master of Music degrees in performance, conducting, piano pedagogy, music history, theory and composition, and music
education. The Ph.D. in Musicology is offered jointly with the University of Kentucky.
The School of Music has a long-time association with the Louisville Orchestra, the Kentucky Opera Association, the Louisville
Bach Society, the Choral Arts Society, and the Chamber Music Society. A major emphasis of the School of Music is the
composition and performance of new music. The University of Louisville Grawemeyer Award for Music Composition, the
largest monetary award for composition in the world, is given annually to an outstanding composer. Previous winners of this
prestigious award include Witold Lutoslawski (1985), Gyorgy Ligeti (1986), Harrison Birtwistle (1987), Chinary Ung (1989),
Joan Tower (1990), John Corigliano (1991), Krzysztof Penderecki (1992), Karel Husa (1993), Torn Takemitsu (1994), John
Adams (1995), Ivan Tcherepnin (1996), Simon Bainbridge (1997), Tan Dun (1998), Thomas Ades (2000), Pierre Boulez
(2001), Aaron Jay Kernis (2002), KaijaSaariaho (2003), Unsuk Chin (2004), George Tsontakis (2005), and Gyorgy Kurtag
(2006).
Cardinal Singers
The University of Louisville Cardinal Singers were founded in 1970 under the name University Singers by the late William
C. Lathon, former University of Louisville professor in the Schools of Music and Education, as an outreach organization for
the University. In 1980 they were appointed by then Governor Brown as Commonwealth of Kentucky “ambassadors of good
will.” Mr. Lathon conducted the ensemble until 1991, when Shirley Wilkinson, long-time Jefferson County Public Schools
choral director, took over the leadership of the Singers. Dr. Hatteberg began conducting the ensemble in 1997, and the name
was changed to “Cardinal Singers” in 1998. The ensemble rehearses twice weekly, and students receive a half credit for
participation.
The outreach mission of the Cardinal Singers continues as a focus today, and the Singers have made a number of appear¬
ances nationally and internationally. Most recently, they performed at the 7 Ul World Symposium on Choral Music in Kyoto,
Japan in August 2005. They won first prize and the Preis des Bundestagsprasidenten der Bundesrepublik Deutschland
for the highest score of all choirs (the first perfect score ever awarded at the festival) and were designated “best choir of the
festival” at the Harmonie-Festival in Lindenholzhausen in May 2005. They also won a special prize for the outstanding
interpretation of a world premiere: Laudate pueri, Dominum by Vytautas Miskinis. The Singers won Second Prize at the
International Chamber Choir Competition in Marktoberdorf, Germany in May 2005. At this competition Kent Hatteberg was
named winner of the Marie Straecker-Daelen Prize: the conductor’s prize for the best interpretation of a contemporary choral
work (Icli bin das Brot des Lebens by Wolfram Buchenberg). They performed as the seminar choir for the International
Conducting Seminar, led by clinicians Volker Hempfling and Gary Graden, in Marktoberdorf, Germany in May 2005.
In July 2004 the Cardinal Singers competed in the International Choir Olympics in Bremen, Germany, where they won first
place in the Chamber Choir Category, first in the Spiritual/Gospel Category, and fourth in Musica Contemporaneana. They
were one of only three choirs at the Olympics to win two categories. In 2003 they competed in the Third International
Johannes Brahms Choral Competition in Wernigerode, Germany. They received Gold Diplomas in the Chamber Choir
category, where they placed third, and in the Spiritual/Gospel category, where they were the category winners. They were
featured at the American Choral Directors Association (ACDA) Southern Division Convention in Nashville TN in February
2004.
Locally, the Cardinal Singers perform for a variety of events on and off campus, ranging from community events to singing
the national anthem at Louisville Cardinal basketball games. In July 2005 they gave a concert/demonstration for the Kentucky
Choral Directors Association Summer Symposium and sang for the conducting session led by Anton Armstrong. Today’s
performance marks the fourth appearance of the Cardinal Singers in concert at the Kentucky Music Educators Association
In-Service Conference. Previous appearances were conducted by Mr. Lathon and Ms. Wilkinson.
v^i.wiuiAi b CHORALE
Several members of the Cardinal Singers also sine in thr nu . ,
• - ~ .formancesorcheCh /a
lulwerk National Convention in ^
of Louisville. Recent perioiniiiiiees or tneuiorale include the 200-iArnAM»u„ —7 -- university
2003 American Orff-Schulwerk National Convention in LouisviMe KYthe2002 1 ^ AngdeS ’ CA ’ the
ssssessgggss^^
rrr s "““ ——
The Chorale performs primarily unaccompanied repertoire, but also performs numerous major works, including regular
appearances with the LoutsvtlleOrchestra and the Choral Arts Society. Recent and upcoming performances include Poulenc’s
Gloria (Mar. 2006), Beethoven s Symphony No. 9 (Mar. 2006), Schubert’s Mass in C (Jan. 2006) Mozart’s Vesperae
Solennes de Confessore (Oct. 2005), Verdi’s Quattro pezzi sacri (Oct. 2005), Orff’s Carmina Burana (Feb 2005)
Mozart’s Coronation Mass (Jan. 2005), Verdi’s Requiem (Apr. 2004), Vaughan Williams’s Sea Symphony (Feb 2004)’
Brahms’s Schicksalslied (Feb. 2004), Britten’s War Requiem (Mar. 2003), Beethoven’s Symphony No. 9 (May 2002)’
Kodaly’s Budavdri Te Deum (Mar. 2002), and Poulenc’s Stabat Mater (Mar. 2002). They gave the world premiere of Felix
Mendelssohn’s Gloria in November 1997.
KentHatteberg
Kent Hatteberg is in his tenth year as Director of Choral Activities at the University of Louisville, where he directs two choirs,
administrates the masters’ program in Choral Conducting, teaches graduate conducting and choral literature, and teaches
undergraduate conducting and choral techniques. He has also taught at Sam Houston State University in Huntsville, TX,
Washington High School in Cedar Rapids, IA, and Solon Jr.-Sr. High in Solon, IA.
Dr. Hatteberg earned the Bachelor of Music degree in piano and voice summa cum laude from the University of Dubuque and
the MM and DMA degrees in choral conducting from The University of Iowa, where he studied with Don V Moses and
directed the Old Gold Singers. Named a Fulbright Scholar in 1990, Dr. Hatteberg studied conducting and choral-orchestral
literature in Berlin with Uwe Gronostay, conductor of the Berlin Philharmonic Choir and Professor for Conducting at the
Hochschule der Kiinste. He sang in the Berlin Philharmonic Choir and pursued research on the early works of Felix Mendelssohn.
His doctoral thesis contains urtext editions of Mendelssohn’s Gloria and GroBe Festmusik zum Diirerfest, two previously
unpublished works for chorus and orchestra. In 1 997 he conducted the world premiere of the Gloria. Breitkopf und Hartel
purchased his edition of the Festmusik for the first modern performance of the work in Berlin in November 2000.
Dr. Hatteberg was a guest conductor with the Nederlands Kamerkoor in Amsterdam for seven weeks in 1992 and 1993. He
has also lectured and guest-conducted in Germany. He is co-director of the Kentucky Ambassadors of Music, a program that
affords students across the state of Kentucky the opportunity to perform and tour in Europe every two years. His recent
guest-conducting appearances include the 2006 North Carolina All-State Choir, the 2004 Iowa All-State Choir, and the 2004
Kentucky 7 lh , 8 lh , and 9 lh grade All-State Choir. Dr. Hatteberg was a clinician and conducting instructor at the Southern
Baptist Theological Seminary 2005 Summer Choral Conducting Workshop, and will appear at this summer’s Colorado State
University Conducting Seminar. He serves as Chorus Master for the Louisville Orchestra.
Dr. Hatteberg was named a University of Louisville Faculty Scholar in 2002 and KMEA College/University Teacher of the
Year in 2004. He has received the University of Louisville School of Music “Distinguished Teaching” award each of the past
two years. He served eight years on the KMEA Festival Commission, and is currently the KCDA Repertoire and Stan ar s
chair for Multi-Cultural Music.
INIVERSTIY of IQUISVILLE
■ -
dare to be great
presents
Will Kimball, trombone
with
Brett Shuster, trombone
Krista Wallace-Boaz, piano
and the
University Trombone Ensemble
Guest Recital
Friday Evening
February 10, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thankyou
PROGRAM
Three Preludes
I. Allegro ben ritmato e deciso
II. Andante con moto e poco rubato
III. Allegro ben ritmato e deciso
George Gershwin
(1898-1937)
arr. Will Kimball
Kentucky's Winter Shadows;
Some of Hope, Some of Malice
(Poeme-Satz for Tenor Trombone Duet)
P. Kellach Waddle
(b. 1968)
*
with Brett Shuster, trombone
* world premiere
Concerto pour Trombone
I. Andante et Scherzo-Valse
II. Nocturne
HI. Tambourin
Henri Tomasi
(1901-1971)
INTERMISSION
Concerto for Alto Trombone
I. Adagio
n. Menuetto and Trio
in. Allegro
Leopold Mozart
(1719-1787)
Aria and Dance
I- Aria: Andante
n. Dance: Vivace e giocoso
Thom Ritter-George
(b. 1942)
with University Trombone Octet
Wintermute
Bruce Hamilton
(b. 1966)
BIOGRAPHY
Will Kimball is Assistant Professor of Trombone at Brigham
Young University. He has been Principal Trombonist with both the
Cedar Rapids Symphony Orchestra (Iowa) and the Arkansas Sym¬
phony Orchestra (Little Rock, AR). Additional orchestras he has
performed with include the Utah Symphony, Phoenix Symphony,
Shreveport Symphony, Utah Festival Opera, New England Phil¬
harmonic, and Wildwood Festival Orchestra. An active freelance
musician, he has been a regular member of the Balcony Big Band
(Pittsburgh, PA) and Orquesta Latino (Salt Lake City, UT), and has
recorded soundtracks for nationally-released motion pictures such
as "Sandlot" and "Son of the Mask." Since relocating to Utah, he
has subbed regularly with the Utah Symphony, co-founded the
Utah Trombone Authority (a quartet with members of the Utah
Symphony), and recorded with the Mormon Tabernacle Choir. In
addition to being a member of Brassworks, Brigham Young
University's faculty brass quintet, Kimball has performed chamber
music with members of the Pittsburgh Symphony, Boston Sym¬
phony, Utah Symphony, and Atlantic Brass. A prizewinner at the
National MTNA Collegiate Solo Competition, he is a frequent
recitalist and guest soloist. His research on breathing for brass
players has led to clinics and masterclasses at many prestigious
institutions, including Juilliard, Cincinnati Conservatory, Indiana
University, University of North Texas, San Francisco Conserva¬
tory, Yale, Boston University, Hartt School of Music, and Univer¬
sity of Connecticut.
Kimball received his Bachelor's degree, summa cum laude, from
Brigham Young University, where he studied with Dan Bachelder.
He also studied extensively with Larry Zalkind of the Utah Sym¬
phony. He obtained his Master 7 s degree from Duquesne University
in Pittsburgh, where he studied trombone with Murray Crewe and
euphonium with Brian Bowman. He began work toward his
doctorate at Boston University, where he studied with Scott
Hartman, and completed his doctorate at Arizona State University,
where he studied with Gail Wilson.
School of
usic
IMVERSITY of IOUISVILLE.
' —--
dare to be great
World Music Concert Series
presents
A Concert of Celtic Music
played by
John
keLfon
Guest Recital
Sunday Evening
February 12, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Program selections to be announced.
John Skelton
Irish Flute
Tin Whistle
Bombarde (Breton shawm)
Veuze (Breton pipes)
Gaita (Galician pipes)
BIOGRAPHY
London-born John Skelton is one of the most well-known Irish flute
players currently performing in America. He is probably best known for
his work with The House Band, with whom he recorded seven albums on
the Green Linnet label. John has also released two solo albums, "One at a
Time" and "A Few Tunes." His latest recording, "Double Barrelled," is a
flute duet with Kieran O'Hare. This record has become an instant classic
and has received considerable radio airplay on both sides of the Atlantic.
In recent years, John has become the most sought-after Irish flute and
whistle teacher in the United States. He is a regular staff member at
Augusta, Swannanoa, East Durham, Gaelic Roots, the West Coast Flute
Symposium, Wind on the Bay, and at various Tionols and Irish music
festivals around the country.
In addition to his background in Irish music, John is also well-schooled in
the music of Brittany. He visits there regularly, and is a highly regarded
player of Breton Bombarde, a double-reed folk shawm. NPR's The Thistle
and Shamrock program recently described him as "the finest bombarde
player outside of Brittany." As a bombarde player, he has appeared a
number of times as guest soloist in Sean Davey's orchestral piece, "The
Pilgrim Suite. John also plays the Piston (low bombarde), Veuze (bagpipe
of Eastern Brittany) and the Gaita Gallega (bagpipe of Galicia).
INSTRUMENT DESCRIPTIONS
Wooden Flute
The flute associated with Irish music (and sometimes erroneously referred
to as 'the Irish flute') is the 'simple system' flute. This was the forerunner
of the modem 'Boehm' system flute. It reached its peak of development in
the mid-nineteenth century. There is confusion as to how and when this
instrument first appeared in traditional music in Ireland. It is likely that
inexpensive German models made their way into the hands of players at
the start of the twentieth century, and one theory holds that as these
wooden flutes fell out of favour in Classical music, they were acquired by
folk musicians in Ireland. Military style flute bands (organized by temper¬
ance societies and so on), also introduced fifes and other smaller flutes into
the country. By the time that the flute was well established within the
tradition, English-made flutes of the mid-nineteenth century (Rudall Rose,
dementi, Prowse and so on) were the most sought after by flute players.
Since 1980, there has been a resurgence in wooden flute making, and many
players now play modem instruments. These are often based upon the
older instruments, with some makers adapting the instrument to better
suit Irish traditional playing. For example, as Irish flute music does not use
the third octave and a strong bottom octave is preferred, some makers
adjust the lower notes accordingly.
Dflute in cocus wood and silver (2002) made by Patrick dwell. Nellysford, VA.
Fflute in ebonite madeby Hawkes and Son (c.1895). London.
Bb flute in mopane and silver (2005) by Casey Bums, Kingston, WA.
Tin Whistle
The tin whistle is an end-blown fipple flute that is found in many folk
traditions, but has become especially associated with Irish music. Some¬
times known as the 'pennywhistle', one school of thought suggests that its
association with street musicians led to this (slightly derogatory) expres¬
sion. Until recently, only one or two types were available, but, like the
wooden flute, a similar resurgence has occurred in tin whistle making.
D tin whistle in silver made by John Sindt. Nyack, NY.
Low Fit tin whistle in aluminium by Michael Burke.
Clarke's C whistle.
(continuedon reverse)
Veuze (Breton Bagpipe)
The Veuze is one of three bagpipes found in Brittany (the Celtic northwest
peninsula of France). The term Veuze seems to be based upon the Breton
word for boxwood. It is found in the eastern part of Brittany near the mouth
of the Loire. It was rediscovered in the early '60s (the last surviving player
died in 1956), and is now enjoying a resurgence of interest. It is very similar
to other simple one-drone bagpipes found throughout Western Europe and
is identical to those instruments depicted on medieval illustrations. All
other bagpipes tune the bass drone to the six finger note (in this case C), but
this set also allows the player to tune the drone to the five finger note (D),
which gives a distinctive Breton (some would say ’medieval') sound.
C Veuze in boxwood and rosewood by Gilbert Hervieux and Olivier Glet. Redon,
Brittany.
Bombarde
The Bombarde is a member of the shawm family and is the instrument
most associated with the music of Brittany. It has been played in an
unbroken tradition since the early Middle Ages. Due to the extreme
backpressure needed to sound this very loud outdoors instrument, solo
playing is impossible. It is always played with a bagpipe or sometimes an
accordion, the Bombarde playing phrases along and over the other instru¬
ment, dropping out for half a measure and then joining back in. Instru¬
ments were usually based around Bb, but these days, all keys are made.
Bombarde in A in blackwood and horn by Gilbert Hervieux and Olivier Glet. Redon,
Brittany.
Gaita Gallega (Galician Bagpipe)
Galicia (the Celtic northwest of Spain), like its neighbour to the east,
Asturias, has a very strong and vibrant bagpipe tradition. It's probably
no exaggeration to say that piping is even more popular there than in the
country most associated with the bagpipe - Scotland.
Galician pipes are similar to their Scottish cousin, although the drone
placement is different and unlike the Highland pipes, overblowing can be
achieved. Most Galician pipes are in C or C# (not the Bb of Highland pipes).
However, other keys were and are still found. The pipes played here (m A)
are a copy of an 1805 set from a museum in Santiago de Compos e
Galicia.
Gaita Gallega in A in grenadilla wood and ivory by Joee Mourinho. Santiago de
Compostela, Galicia.
DIVERSITY of 1DUISVILLE
^ -
dare to be great
presents
University Jazz
Combos
Chris Fitzgerald, Jason Foureman,
Tyrone Wheeler, Alexis Marsh
& Natalie Boeyink,
directors
Tuesday Evening
February 14, 2006
8:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Latin Jazz Ensemble
Natalie Boeyink, director
o te esperando (bossa nova)
Santo Antonio (baiao)
Nelson Faria
Ad
Haroldo Lobo
Milton de Oliveira
Jake Goran, alto saxophone
Luke Barker, tenor saxophone
Chris Seal, guitar
Nate McCoy, piano
Natalie Boeyink, bass
Phil Turner, percussion
"Milt Hinton" Combo
Chris Fitzgerald & Alexis Marsh, directors
S Afternoon in Paris John Lewis
^ Allen's Alley (Wee) DenzilBest
Evan Hudson, tenor saxophone
Michelle Linder, clarinet
Barrett Smith, guitar
Virginie Achim, piano
Paul Buchholz, bass
Phil Turner, drums
"Charlie Mingus" Combo
Tyrone Wheeler & Jason Foureman, directors
t 7 Body and Soul
y Nica's Dream
4
Johnhy Green
Horace'Silver
Nate McCoy, tenor saxophone
Merritt Navazio, alto saxophone
Allison Cross, trombone
Chris Seal, guitar
Colin Lippy, piano
Jenna Mattingly, bass
Greg Artry, drums
^Percy Heath" Co
Tyrone^Wheeler-^rD*av4ciark, directors
I Mean You
One for Daddy-O
Thelonious Monk
NatAdderley
Dave Clark, alto saxophone
Tommy Zinninger, tenor saxophone
Sam Farley, piano
Jenna Mattingly, bass
Doug Dallmann, drums
music
INNERS11Y of IDU1SVILLE,
dare to be great
Thursday, February 16, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Convocation
Intrada and Allegro
for Trumpet Octet
Arthur Frackenpohl
(b.1924)
The Fairy Queen James Olcott
Symphony from Act IV
(arr. for eight trumpets)
University Freshman Trumpet Ensemble
Joel Watkins, Andrew Chastain, Marshall Kaufman, Gabriel Brown,
Steven Trentham, Jessie Schuler, Amy Working, & Jaephus Craig, trumpet
MUS 119 / Tunnell
Ryan McCaslin, conductor
Concerto in E-flat
I. Allegro
Franz Anton Rossler
(1746-1792)
Carolyn Fassio, clarinet
MUS 112/Tidwell
David George, piano
Alpha
Jean-Michel Defaye
(b. 1932)
Kate Reyman, horn
MUS 204/Heim
Debbie Dierks, piano
IMVRRSITY of I QUISVILIE
dare to he great
presents
Wendy Chen, piano
First-prize winner of the
1997 Young Concert Artists International Auditions
The School of Music gratefully acknowledges the support of
Calvin and Helen Lang for their gracious sponsorship of this
recital and the residency of Wendy Chen at the
University ofLoidsville School of Music.
Saturday Evening
February 18, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Ballade No. 1 in G Minor, Op. 23
Ballade No. 2 in F Major, Op. 38
Ballade No. 3 in A-flat Major, Op. 47
Ballade No. 4 in F Minor, Op. 52
INTERMISSION
Laurie
Letter to Evan
Sonetto 104 del Petrarca
from Annees de Pelerinage, 2eme annee
Frederic Chopin
(1810-1849)
Bill Evans
(1929-1980)
Franz Liszt
(1811-1886)
Mephisto Waltz No. 1, S. 514
Franz Liszt
BIOGRAPHY
Wendy Chen has appeared as soloist with the Los Angeles Philharmonic,
the Boston Pops, the Pacific Symphony, the Florida Philharmonic the
Phoenix Symphony, the Utah Symphony, the New York Chamber Orches¬
tra, the Cincinnati Symphony, the Cincinnati Chamber Orchestra, the
Baltimore Chamber Orchestra, the Santa Barbara Chamber Orchestra,
Uruguay's Orquesta Sinfonica del Sodre, and New Zealand's Auckland
Philharmonia and Wellington Sinfonia. Ms. Chen recently appeared with
the Wisconsin Chamber Orchestra, performing Gershwin's Rhapsody in
Blue, in a unique program that also featured Art Garfunkel. She has worked
with many distinguished conductors including Andre Previn, Carl St.
Clair, Keith Lockhart, and Marco Armiliato. Ms. Chen has given recitals
throughout the United States, including appearances at New York City's
Alice Tully Hall, Avery Fisher Hall, 92 nd Street Y, Merkin Concert Hall,
Carnegie Hall's Weill Recital Hall, Washington D.C.'s John F. Kennedy
Center, and most recently at the United States Supreme Court, in a special
evening presented by The Honorable Ruth Bader Ginsburg. As a chamber
musician, she has performed at the Tanglewood, Aspen, Montreal, Seattle,
Bridgehampton, Strings in the Mountains, and Spoleto Festivals, as well
as with El Paso Pro Musica, Bargemusic, and the Boston Chamber Society.
Highlights of her 2005/2006 season include performances with leading
orchestras and chamber ensembles throughout the United States, an
appearance on St. Paul Sunday Morning, recitals in Korea, and perfor¬
mances at the International Music Festival of Cartagena, in Columbia,
South America. Her summer calendar features her 9 th year at the Spoleto
USA Festival in Charleston, South Carolina.
In addition to her performance schedule, Ms. Chen gives masterclasses
throughout the United States and has served as visiting artist at the
University of Louisville since 2005, giving recitals as well as working with
students privately.
Ms. Chen has won numerous awards, including first prizes at the Young
Concert Artists International Auditions, the Seventeen Magazine/General
Motors National Concerto Competition, and the Washington Interna¬
tional Competition. In 1990, she became the youngest winner ever of the
National Chopin Competition, was one of the inaugural recipients of the
Irving S. Gilmore Young Artists Award, and was named a Presidential
Scholar by the National Foundation for the Arts. In 2004, Ms. Chen was
asked to serve as a panelist for the National Endowment for the Arts.
Born in Los Angeles, Wendy Chen attended the R. D. Colburn School of
Performing Arts as a student of Dorothy Hwang and receive*d private
instruction from Aube Tzerko. Ms. Chen received degrees from ^e Peabody
Conservatory at The Johns Hopkins University, w ere sewa
of Leon Fleisher. Ms. Chen's debut solo recording, featuring works by
Chopin, has been released on the RCM label.
Program
Suite eti Trio
Allemande
Fugue
Sarabande
Tambourin
Gabriel Noel-Gallon
(1891-1966)
Marion Gibson, oboe Dallas Tidwell, clarinet
Matthew Karr, bassoon
Quartet
Massig bewegt
Sehr Langsam
Massig Tidwell> clalinet Peter McHugh, violin
Megumi Ohkubo, cello Joanna Goldstein, piano
Paul Hindemith
(1895-1963)
Intermission
Flute Quartet in D, K. 285
Wolfgang Amadeus Mozart
(1756-1791)
Allegro
Adagio
Rondo
Kathleen Karr, flute Peter McHugh violin
Jamie Hofflnan, viola Megumi Ohkubo, cello
Phantasie
Frank Bridge
(1879-1941)
Allegro moderato ma con fiioco-Andante moke^ piu moS so
Allegro scherzoso-Andante-AUegro moderato-con anima
Peter McHugh, violin Megumi Ohkubo, cello
Joanna Goldstein, piano
Please join
us in the green
room for a reception following the concert.
PROGRAM NOTES
Suite en Trio (1933) .
-By (Gabriel) Noel-Gallon (b. Paris, 11 September, 1891; d. Paris, 26 December,
^ Noel-Gallon was a French educator and composer, bom into a musical family. His
mother was a distinguished piano teacher. His elder brother (by 13 years, Jean Gallon,
was a professor of harmony in Paris Conservatory, where Noel-Gallon entered to study
composition, counterpoint and fugue, and piano and later, himself, became a faculty
member. ., , . ,.
In 1910, he obtained the first prize of Prix de Rome with his cantata Acis et
Galathee'. In 1920 he was appointed to the position in Paris Conservatory as a teacher of
solfege and wrote an exercise book on the subject. In 1926, he was appointed as a teacher
of counterpoint and fugue, a subject on which he also authored a text. Among his pupils
were Durufle, Challin, Messiaen, Dutilleux, and Aubin.
Most of his compositions were for smaller vocal and instrumental forces, such as
this work for oboe, clarinet and bassoon. Many were intended as test pieces for students
at the conservatory. Grove’s describes his music as “marked by elegance and clarity and
by discreet impressionism that veils his contrapuntal skill.”
There is some mystery surrounding the composer’s name. Groves lists it as Noel
Gallon. But in many other sources, the two names are hyphenated and there is sheet
music with his name printed as 'Gabriel' Noel-Gallon, so that "Noel" would not be his
first name.
Quartet for Clarinet, Violin, Cello, and Piano (1938)
By Paul Hindemith (b. Hanau, near Frankfurt, 16 November, 1895; d. Frankfurt,
28 December, 1963)
Hindemith began composing the Quartet aboard the S.S. Hamburg en route from
New York to Europe and completed it in Frankfurt in April of 1938. The Quartet was
premiered two months later in the Swiss canton of Valais. The principal voices are those
of the clarinet and violin, while the cello and piano tend to take supporting roles.
Stephen Heinemann, in the liner notes to a recording of clarinet music by
Hindemith, describes the quartet as follows:
In the first movement (“moderately, with motion”), the cello’s secondary theme,
featuring ascending fourths, takes over after extensive development. Near the end of the
movement, the static harmony, reminiscent of Stravinsky, is a prelude to the quite coda.
A nostalgic and introspective clarinet theme in the second movement (“very slowly”) is
undercut by chromatic string harmonies and sparse piano sonorities. A declamatory
center section recalls aspects of the first movement. The clarinet theme returns, but with
different accompaniment.
In the final movement, a stately processional is expansively developed before
giving way to a bouncy, tarantella-like section. The ensuing calm contrasts the ensemble
of clarinet and strings with the solo piano. The piece ends with a rapid conclusion is
marked by strong polyrhythms.
Flute Quartet in D, K.285 (1777)
By Wolfgang Amadeus Mozart (b. Salzburg, 27 January, 1756; d. Vienna, 5
December, 1791)
The Flute Quartet in D was one of several pieces written on commission by the 21-year-
old Mozart for an amateur flutist from Mannheim, identified only as De Jean. The
composer was paid 200 gulden for “three small, easy, brief concertos and a few flute
quartets.” Completed on Christmas Day, 1777, it is a charming miniature in the Rococo
gallant style.
The flute leads throughout the first theme of the Allegro until the second theme is
introduced by the violin and viola. The first subject then returns before the movement
ends with a sparkling coda. The brief second movement is a serenade in which the flute
plays a sustained cantabile melody, accompanied by pizzicato in the strings. The
rollicking Rondo follows the Adagio without a break.
Phantasie for Violiii, Cello and Piano (1907)
By Frank Bridge (b. Brighton, 26 February, 1879; d. Eastbourne, 10 January,
1941)
Not to take away from his other professional accomplishments (he was Benjamin
Britten’s composition teacher) Frank Bridge’s reputation today is based largely upon his
chamber music. Bridge’s skill in this field evolved through one of England’s premiere
music contests. Paul Hindmarsh recounts Bridge’s evolution as a chamber music
composer:
“In June 1907 the second Cobbett Musical Competition was announced in The Musical
Times thus: 'The Worshipful Company of Musicians offers various prizes, under the title
'Cobbett Musical Competition No 2', for the composition of a short Phantasy in the form
of a piano trio'. Three prizes were offered - £50 First Prize, donated by William Cobbett
himself, and £10 Second and Third Prizes donated by H L Sternberg. There were sixty-
seven entries and Bridge, John Ireland and James Friskin were the successful entrants.”
“The significance of Bridge's continued Cobbett Competition success (his Quartet had
won second prize in the 1905 competition) in terms of his stylistic development and the
growth of his reputation, should not be underestimated. The 1907 Phantasie for piano trio
(his Piano Trio No 1) established him as one of the leading chamber-music composers of
the younger generation. ”
The single movement of the C minor Phantasie utilizes sonata exposition and
recapitulation, separated by andante and scherzo episodes that are, in turn, linked by
simple transitions. The piece ends with a recapitulation of the sonata theme and a coda.
- Ursula Winston
The Kentucky Center Chamber Players
gratefully acknowledge the assistance of:
Indiana University Southeast
University of Louisville School of Music
Angel
Mr. & Mrs. Robert Kulp
Mr. Frank Abell
Drs George & Marie Doyle
Dr. David Bybee & Dr. Polly Coombs
Mrs. Macauley Smith
Jane Woolsey
Benefactor
Joan Cralle Day
Ms. Jodie Goldberg
Mr. Robert Droste
Dr. & Mrs. Jeffrey Jamner
Mr.& Mrs. David Cohn
Mr. and Mrs. Ben Franklin
Mr. Karl Gruen
Dr. & Mrs. Robert Weaver
Mr & Mrs John Pohl
Dr. & Mrs. Daniel McAninch
Drs. Edwin and Marcia Segal
Ms. Susan Reigler
Mr.& Mrs. James R. Voyles
Patron
Bill Bird
John Carroll
Elizabeth & Timothy B. Popham
Dr. & Mrs. Thomas Blanford
Mrs. Louise Schulman
Mrs. Mary Henry
Ms. Rose Isetti
Dr. & Mrs. Herbert Koerselmann
Carl E. Langenhop
music
INIVERSHYof LOUISVILLE.
s* 0 " -
dare to be givat
presents
University
Wind Symphony
Frederick Speck, director
Sunday Evening
February 19, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely evenI of fire or oilier
emergency, please walk to the nearest exit. The use. of recording devices and fash photography is
strictly prohibited. Please silence cell phones, electronic watches and pacers. Thank you.
PROGRAM
"Allegro marcato" from Trittico (1963) Vaclav Nelhybel
The Alcotts (1909-1915)
Vientos y Tangos (2002)
Dances from Crete (2003)
I. Syrtos
II. Tik
III. Samaria Gorge [attacca]
IV. Syrtaki
The Melody Shop (1910)
(1919-1996)
Charles Ives
(1874-1954)
transcribed by Richard Thurston
Michael Gandolfi
(b. 1956)
Adam Gorb
(b. 1958)
Karl L. King
(1891-1971)
Daniel Stull, Matthew Byru.m and Sarah Danyi, euphoniums
PROGRAM NOTES
Allegro Marcato from Trittico Vaclav Nelhybel
A versatile musician, Vaclav Nelhybel held various posts as composer,
conductor, organist and teacher. His most notable European engage¬
ments included being conductor at Radio Prague and City Theater of
Prague from 1939 to 1942 and Music Director of Radio Free Europe in
Munich from 1950 to 1957. He came to the United States from Czecho¬
slovakia in 1957, later becoming an American citizen. His original
voice for wind instruments was welcomed as both provocative and
stimulating. Trittico was written for William D. Revelli and the
Symphonic Band of the University of Michigan.
The character of the "Allegro marcato" which is the final movement of
the work, is brilliant and energetic. Opening fanfares by the brass choir
highlight the beginning of the movement, ultimately drawing the
woodwinds and percussion into an exhilarating expression of motion
and drama.
The Alcotts Charles Ives
Originally written as the third movement of the Piano Sonata No. 2
"Concord , Mass. 1840-60," this movement begins with a direct and
placid beauty that the listener may react to as if hearing an old familiar
hymn. Still there is more at play, as even here in the opening figures,
Ives entwines a subtle statement of a motive that governs the work.
Eventually the motive is cast as a stern and fateful quotation of the
principal motive of Beethoven's Fifth Symphony intervening like a
musical spire of granite. Past this, a set of sentimental duets is
questioned with yet another motive of fate. Finally, after sinewy
counterpoint lifts up a towering mass of sound, the Beethoven quote
again emerges as if to prevail. In the end, however, there is a lovely
reminder of the gentleness of the work as it concludes by way of a
beautiful flute solo.
Vientos y Tangos (Winds and Tangos) Michael Gandolfi
Vientos y Tangos is saturated with diverse expressions of the tango. Its
musical attitudes range from the intense and physically ballistic to the
(continued on reverse)
subtle and nearly exhausted. In it, Gandolfi has drawn from the early
style of Juan D'Arienzo, the 'Tango Nuevo' style of Astor Piazzolla and
even the current flavor of 'Disco/Techno' Tango. The instrumental
colors of the work are vivid, often influenced by the traditionally
idiomatic sounds of the tango as might have been heard in instruments
such as the violin, contrabass, piano and bandoneon. The work was
commissioned by the Frank Battisti 70th Birthday Commission Project.
Dances from Crete Adam Gorb
Dances from Crete was commissioned by conductor, Timothy Reynish,
as part of a series to commemorate the life of his son William, who
died in a tragic mountaineering accident in 2001. In the work, Gorb
creates a musical celebration of the good things in life, using material
from the dance music of the Greek island of Crete. The first movement,
Syrtos, was inspired by the imagery of the mythical Minotaur, a creature
that was half bull and half man. It is rhythmic, muscular and bold.
The second movement, Tik, is a graceful, yet sinewy dance in 5/8 meter.
Reynish writes that the whole ensemble "should feel the pulse like a
Cretan peasant on the threshing floor." The third movement, Samaria
Gorge, is darker in mood, inspired by the steep, spectacular walk down
the gorge. After a triumphant climax, the expansive music of the
Samaria Gorge merges attacca with the final movement by means of
trumpet fanfares. The final movement, Syrtaki, is a modern Greek
dance. Trumpets beckon the beginning of the movement, drawing their
cohorts to join in with an intentionally banal theme. Tire music becomes
festive, dancing and spinning toward celebratory anarchy, only to set
the stage for the ghost of the Minotaur to join the party.
The Melody Shop Karl L. King
Of Karl King's 185 marches. The Melody Shop was published when King
was only 19 years old. A popular legend surrounds its dizzying
euphonium part. As the story goes. King met a man by chance who
turned out to be a "perfect" stranger at a Canton, Ohio barbershop.
This fellow, a euphonium player, struck up a conversation with King,
sharing his insight on march music. Not knowing whom he was
speaking with, the stranger commented that the composer Karl King
was "the guy who writes those dinky marches." His unintentional
challenge became the inspiration for King to give The Melody Shop one
of the most famous euphonium parts in the band repertoire.
University Wind Symphony
Frederick Speck, director
Piccolo
Tyra Blasher+
FLUTES
Amanda Taylor+
Katie Fondrisi
Penelope Beard
Tiffany Wilson
Oboes
Gretchen Reiter+
Wendy Frazee
Clarinets
Noriko Taka+*
Amber Richeson
Michelle Linder
Sharon Edmonds
Heather Stokes
Amanda Wright
Chris Phillips
Bass Clarinet
Brad Baumgardner
Courtney Drown
Bassoons
Carrie Baxter+*
Erica Jones
Alto Saxophones
Kevin Arbogast+
Jennifer Hoffmann
Tenor Saxophone
Louisville
Benton
New Albany, IN
Lima, PERU
Ashland
Crescent Springs
Franklin, OFI
Hiroshima, japan
Owensboro
Cincinnati, OH
Louisville
Louisville
Alexandria
Milford, OH
Nashville, TN
Fredonia, NY
Ft. Eric, Ont., Canada
Bowling Green
Louisville
Horns
Kate Reyman+
Dominic Rotella
Lindsay Pummell
Nickie Lewis
Leah Simer
Trumpets
Trombones
Audrey Davis+
Sarah Finger
Aaron Stepp
Bass Trombones
Euphoniums
Daniel Stull+
Matt Byrum
Sarah Danyi*
Tubas
Aaron Gaither+
Adam Yankowy
Percussion
Matt Greenwood+
Whitney Winstead
Andrew Powell
Phil Turner
Double Bass
Nick Wooldridge
Decatur, 1L
Louisville
Franklin, OH
Louisville
Centra lia, 1L
Louisville
Anderson, IN
Glasgow
Payneville
Louisville
Oregon, OH
Louisville
Louisville
Floyds Knobs, IN
Louisville
Benton
New Albany, IN
Louisville
Tommy Zinninger Louisville
Baritone Saxophone
Daniel Reams Cecilia
* grad ante student
+ principal
Graduate Assistants
Sarah Danyi”- Oregon, OH
Anastasi Fafalios* Belle Vernon, PA
David Jaggie* Lexington
Contra Bass Clarinet
Georgetown
Ryan Nottingham+ Louisville
Matt Janssen”- Watseka, IL
Michael Swope”' Connersville, IN
Ryan McCaslin”- Babylon, NY
Melissa McDaniel* Collierville, TN
Daniel Whaley* Knoxville, TN
Anastasi Fafalios* Belle Vernon, PA
Upcoming Events at the School of Music
(A II events are admission free and field in Margaret Comstock Concert Ha//,
unless otherwise noted. Eve/ifs are subject to change.)
Tuesday, February 21 - 8:00 p.m.
Cardinal Singers with the Southern Baptist Theological Seminary
Chamber Choir
Wednesday. February 22 - 8:00 p.m.
JAZZ WEEK: Open World Jazz Quintet. Tickets: $5 general admission.
Call 502-852-6907 to purchase. For more information, visit
jazz.louisville.edu
Thursday. February 23 - 8:00 p.m.
JAZZ WEEK: Jazz Week Adjudicators with University Jazz Ensemble
11. Tickets: $5 general admission. Call 502-852-6907 to purchase. Formore
information, visitjazz.louisville.edu
Friday, February 24 - 8:00 p.m.
JAZZ WEEK: Bill Watrous, trombone, with University Jazz Ensemble I
and Faculty Jazz Combo. Tickets: $15 general admission; $ 12 students; $10
festival participants. Call 502-852-6907 to purchase. Formore information,
visit jazz.Iouisville.edu
Saturday. February 25 - 8:00 p.m.
JAZZ WEEK: David Liebman.srtxo^fiojie, with University Jazz Ensemble
I and Faculty Jazz Combo. Tickets: $15 general admission; $12 students;
$10 festival participants. Call 502-852-6907 to purchase. Formore informa¬
tion, visit jazz.louisville.edu
Sunday. February 26 - 3:00 p.m.
JAZZ WEEK: Jon Hendricks, vocals, and Company. Co-sponsored byT/ie
Kentucky Center and NEA Jazz Masters on Tour. Tickets: $25 general admis¬
sion; $ 15 students; $ 10 festival participants. Call 502-852-6907 to purchase.
For more information, visit jazz.louisviIle.edu
Sunday. February 26 - 7:30 p.m.
University Symphony Orchestra
Monday. February 27 - 8:00 p.m.
Faculty Artists: Brett Shuster, trombone, with Krista Wallace-Boaz,
piano
Tuesday. February 28 - 8:00 p.m.
University Symphonic and Concert Bands
U of L Music Concert Line
PH: 502-852-0524
music.louisville.edu
UqfL
Jamey AebersoLI
Jazz Studies Program
February 21-26, 2006
Featuring: Jon Hendricks, David Liebman,
Bill Watrous, Open World Quintet, & more
University of Louisville School of Music
www.louisville.edu/music/jazz/
It's my pleasure, on behalf of the School of Music students, faculty,
and staff, to welcome you to Jazz Week 2006. On this thirteenth
anniversary of Jazz Week, the Jamey Aebersold Jazz Studies Pro¬
gram faculty have organized a wonderful array of jazz events that
will bring the eyes and ears of the Louisville community to the Uni¬
versity of Louisville. A combination of concerts and master classes
featuring established and emerging jazz artists provides opportuni¬
ties for audiences to experience the past, present, and future of
jazz-America's music. In addition to our very special guest artists,
audiences at this year's events will enjoy the many faculty artists
and students from the Jamey Aebersold Jazz Studies Program in
the School of Music.
The School is especially pleased to welcome featured guest artists
Jon Hendricks and Company, David Liebman, and Bill Watrous. They
join a long list of previous Jazz Week artists who make up a veri¬
table "who's who" in the contemporary jazz world. We're proud to
offer Jazz Week as one of the major annual events in the musical
life of the University and our community, and we hope you will en¬
joy all the special events in celebration of the unique contribution
of jazz to our community and to our American music.
Christopher Doane
Dean, School of Music
The faculty of the Jamey Aebersold Jazz Studies Program wishes to
thank you for attending Jazz Week 2006 and supporting jazz and
jazz education. We also want to thank our sponsors, for without their
generous support Jazz Week would not have been possible.
We are committed to offering our students and the Louisville area
the finest in music education. We welcome your suggestions and
requests. To help us promote America's own indigenous musical
art form - jazz - contact us at:
Jamey Aebersold Jazz Studies Program
School of Music • University of Louisville • Louisville, Kentucky 40292
502.852.6907 (p) • 502.852.0520 (f) • jazz.louisville.edu
A special thanks to the following for their support of Jazz Week:
Don and Rande Swann, Bill Loeffler,
John O'Haver and Imagistics, Patty Bailey
2
Table of Contents
ADJUDICATOR BIOS 41
Advance Music 19
JAMEYAEBERSOLD 54
Connie Karem Albrecht 11
Arts Council of S. Indiana 15
RAHSAAN BARBER 41,64
ROLAND BARBER 41,64
Dr. Kenneth Beilman 63
Big Rock Jazz Fest 7
Caris Music Services 58
Carmichael's Bookstore 24
Comedy Caravan 8,71
Community Living 35
Conn-Selmer 49
Conrad Music 39
CSM Custom Rugs 27
E. Robert Dick 30
Don Wilson Music 32
Doo-Wop Shop 60
DownBeat inside front cover
Driscoll 31
ear x-tacy 20
Ekstrom Library 9
Executive Inn 70
Father Robertson Concert 29
First Quality 6
FRIDAY SCHEDULE 54-55
Gist Piano Center 23
Gray's Bookstore 43
Guitar Emporium 8
Hal Leonard 51
JON HENDRICKS 64, 68
Highland Coffee 15
Hilliard Lyons 67
GLEN HODGES 22
Jamey Aebersold Jazz Wkshps 5
The Jazz Factory back cover
Keith’s Hardware 55
Kendor 38
JIM KETCH 41,64
Jack Fry's 52
Jazz Cruise 36-37
JAZZ ENSEMBLE PERSONNEL 72
John La Barbera
34
DAVID LIEBMAN
65, 68
Lincoln Foundation
57
Louisville Jazz Society
53
Louisville Urban League
50
Magnetic Tape Recorder
24
Masterson’s
44
Mel Owen Music
26
Meme Tech
17
Mike Tracy
28
Miles Ahead
10
Old Town Wine
48
OPEN WORLD JAZZ QUINTET 29
Parthenon inside back cover
Public Radio Partnership
66
Quality Inn
21
Sabian Cymbals
61
Sam Meyers
12
SATURDAY SCHEDULE
64-65
Seabreeze
33
Second Step Shoes
25
Southwest Airlines
56
Spatial Data Integrations
30
Steilberg String Instruments
62
SUNDAY SCHEDULE
68-69
Third Avenue Cafe
28
THURSDAY SCHEDULE
40
TNT Productions
18
T-Shirt Designs
25
TUESDAY SCHEDULE
22
UBS
47
Underground Sounds
45
University Club
71
Via Studio
46
Vintage Piano Works
14
Vision Works
13
Walker & Kays
59
BILLWATROUS
54
WEDNESDAY SCHEDULE
29
JIM WIDNER
41, 64
Wild Oats
22
Yamaha
42
Zildjian
16
3
The Jamey Aebersold Jazz Studies Program:
Serious about America's music - JAZZ!
Faculty:
Jamey Aebersold (retired). Lecturer - Jazz Improvisation
Jim Connerley, Lecturer - Piano
Chris Fitzgerald, Lecturer - Jazz Theory, Jazz Class Piano, Combo
John La Barbera, Associate Professor - Jazz Ensemble I, Trumpet,
Music Industry, Jazz Arranging/Composition, Computers in Music
Jason Tiemann, Lecturer - Drum Set
Jerry Tolson, Associate Professor - Vocal Jazz Ensemble,
Jazz Ensemble II, Jazz History, Jazz Methods, Jazz Styles, Combo
Michael Tracy, Professor - Program Director
Jazz Repertoire, Combo, Saxophone
Craig Wagner, Lecturer - Guitar, Combo
Tyrone Wheeler, Lecturer - Bass, Combo
Graduate Teaching Assistants
Natalie Boeyink David Clark Jason Foureman
Brent Hall Brian Koning Alexis March
Graduate Service Awards
Sam Farley Dan Dorff Matt Yarborough
Student Organizations play an important role
in the success of Jazz Week.
We want to give a special thanks to:
University of Louisville School of Music Student Council
The UofL Saxophone Alliance
UofL School of Music IAJE Student Chapter
4
7:00 p.m. Lecture: free
, The Legacy of Jimmy Raney
Glen Hodges, Senior Lecturer
Central Queensland Conservatorium
Mackay, Australia
School of Music Room 263
Steinway by GIST PIANO CENTER
The official piano of Jazz Week
• FRESH ORGANIC PRODUCE • NATURAL MEAT £ SEAFOOD
• GRAB-AND-GO DELI • FRESH SALAD BAR
• JUICE AND JAVA BAR * DELICIOUS BULK FOODS
NATURAL E ORGANIC GROCERIES • VITAMINS £ SUPPLEMENTS
* NATURAL BODY CARE
IHp
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NATURAL MARKETPLACE
4600 SHELBYVILLE RD • LOUISVILLE • 502.721.7373 • 8AM-10PM
IAZZ UP YOUR MEAL
{with foods that enrich all your senses}
www.wiidoats.com 8oo.494.wno Discover the taste of natural and organic
Wednesday, February 22
8:00 p.m. Concert: $5
Open World Jazz Quintet
Natalya Smirnova, vocal (Moscow)
Maxim Nekrasov, chromatic harmonica (Minsk)
Maxim Belitskiy, guitar (Pushkin)
Robert Pilyakalnis, bass (St. Petersburg)
Andrey Ivanov, drums (St. Petersburg)
Margaret Comstock Concert Hall
This performance is made possible
with support from the
Open World Program - Library of Congress
OTKPblTblPl MMP
OPEN WORLD
Steinway by GIST PIANO CENTER
The official piano of Jazz Week
Father Robertson Memorial Concert
March 28, 2006
8:00 p.m. in Margaret Comstock Concert Hall
Donations will be accepted for the
Father Robertson Jazz Scholarship Fund
29
Community Living presents
All That Jazz
Please join us for a night of great jazz and edible delights:
Where: River Bend Winery
120 South 10 th Street (Comer of Market and 10 lh St.
Downtown Louisville)
Date: Saturday, March 4, 2006
Time: 6:30 pm - 10:00 pm
Music by Mike Tracy, of the U of L Jazz Program, and
Friends, and Walker and Kays, with a mix of contemporary
and traditional jazz. Food from some of the city’s top
restaurants.
After 8:00 pm - Cash Bar • Event Custom Label Wine
available for purchase • Casual Party Attire
All proceeds go to benefit Community Living, Inc., a non-profit agency
providing services to persons with mental retardation since 1976. For
Tickets and Reservations call 585-5272.
35
Thursday, February 23
8:00 p.m. Concert: $5
Jazz Ensemble II
with Guest Adjudicators
Jim Ketch, trumpet
Roland Barber, trombone
Rahsaan Barber, saxophone
Jim Widner, bass
Margaret Comstock Concert Hall
This performance is supported
in part by:
Conn-Selmer Company (Jim Ketch)
Yamaha Musical Instruments (Jim Widner)
UofL IAJE Student Chapter
Accomodations by
Quality Inn & Suites
Steinway by GIST PIANO CENTER
The official piano of Jazz Week
40
Rahsaan Barber, saxophone
Guest Adjudicators
Jim Ketch, trumpet
James Ketch is Professor of Music at the University of North Carolina at
Chapel Hill where he teaches trumpet, jazz improvisation, and jazz
history. Mr. Ketch is the founder of the Carolina Jazz Festival (now in
year 29). He is Music Director of the North Carolina Jazz Repertory
Orchestra, President of the Jazz Foundation of North Carolina, lnc„
and immediate Past-President of the North Carolina Chapter of the
International Association for Jazz Education. Mr. Ketch is on the
faculty of the Jamey Aebersold Summer Jazz Workshop and is a clini¬
cian for Bach Trumpets and the Conn-Selmer Corporation.
Roland Barber, trombone
Described by Curtis Fuller as "What jazz trombone playing is all about"
and winner of the 2005 International Trombone Association's J. J.
Johnson Competition, Roland Barber obtained his Master’s Degree in
Jazz Studies from Manhattan School of Music in May 2005. Prior to this
accomplishment, Roland received both an Artist Diploma in Trombone
Studies and a B. M. in Jazz Studies from Indiana University while studying
with legendary jazz educator Dr. David Baker. Roland currently teaches
private study of trombone, jazz history, big band, and jazz improvisation
in Manhattan School of Music's Pre-College Program.
Rahsaan Barber has developed a distinctive and aggressive excel¬
lence in traditional jazz as well as contemporary idioms - rock, blues,
funk, salsa and Latin jazz in particular. Rahsaan's compositional skill and
musicality have led to numerous awards including an appearance at
the 2003 Montreux Jazz Festival, in addition to performances with many
of jazz's elite figures, including Winard Harper, Curtis Fuller and the late
Al Grey. Rahsaan Barber teaches Classical and Commercial Saxo¬
phone at Belmont University and appears as a clinician and lecturer at
numerous institutions supporting music education.
Jim Widner, bass
An alumnus of the Stan Kenton, Woody Herman, and Glenn Miller big
bands, Jim Widner is celebrating his 19th year of hosting summer
camps ail across the United States. Jim has performed at the world
famous Lionel Hampton and Montreaux Jazz Festivals. He also main¬
tains an ambitious clinic and festival schedule. Currently Jim is Artist in a
Residence/Coordinator of Jazz Studies at the University of Missouri-St. I
Louis and is a Yamaha performing artist. '\ A
41
9:00 o.m.
12:30 p.m.
Gs£=5n
2:30-5 p.m.
G^G
5:30 p.m.
Q^T)
8:00 p.m.
Jazz Ensembles/Combos free
Margaret Comstock Concert Hall
Artist Talk: free
Bill Watrous, trombone
Margaret Comstock Concert Hall
This program has been made possible
through a grant from: BACH
Jazz Ensembles/Combos free
Margaret Comstock Concert Hall
Clinic: free
Jamey Aebersold: jazz improvisation
Margaret Comstock Concert Hall
Concert: $15
Bill Watrous, trombone $ 12
with $’°
Jazz Ensemble I (John La Barbera, director)
and
UofL Jazz Faculty Combo
Craig Wagner, guitar
Tyrone Wheeler, bass
Jason Tiemann, drums
Margaret Comstock Concert Hall
(selected school/college ensemble at 7:45)
54
4 ?
Friday, February 24
(continued)
This performance is supported
in part by:
The Lincoln Foundation
The Louisville Jazz Society
Southwest Airlines
If
LINCOLN
FOUNDATION
&
SOUTHWEST ARLWES'
LOUISVILLEJAZZSOCIETY a symbol Of Freedom
Accomodations by
Quality Inn & Suites
Steinway by GIST PIANO CENTER
The official piano of Jazz Week
Open 7 Days A Week
I Keiths
HARDWARE
’—■i *
RFMTAI 1201 Bardstown Road
riC,rN (In the Highlands)
Louisville, KY 40204
(502) 451-3133
9:00 a.m.
G^Gn
11:00 a.m.
G^T)
Saturday, February 25
Jazz Ensembles/Combos free
Margaret Comstock Concert Hall
Clinics: free
Jim Ketch, trumpet
Roland Barber, trombone
Rahsaan Barber, saxophone
Jim Connerley, piano
Jim Widner, bass
Jason Tiemann, drums
Craig Wagner, guitar
Rooms to be announced
12:30 p.m. Clinic: free
Jamey Aebersold: jazz improvisation
Margaret Comstock Concert Hall
2:30-5 p.m. Jazz Ensembles/Combos free
Margaret Comstock Concert Hall
5:30 p.m. Artist Talk: free
Jon Hendricks, vocal
and Company
Margaret Comstock Concert Hall
64
cm
cm "
8:00 p.m. Concert: $15
David Liebman, saxophone $ 12
with $70
JaZZ Ensemble I (John La Barbera, director)
and
UofL Jazz Faculty Combo
Jim Connerley, piano
Tyrone Wheeler, bass
Jason Tiemann, drums
Margaret Comstock Concert Hall
(selected school/college ensemble at 7:45)
Special Presentation
Jazz Week 2006 All-Star Award
This performance is supported
in part by:
Dr. Kenneth Beilman
Keilwerth Saxophones
Accomodations by
Quality Inn & Suites
Steinway by GIST PIANO CENTER
The official piano of Jazz Week
Saturday, February 25
(continued)
65
Sunday, February 26
1:00 p.m. Clinic: free
David Liebman: saxophone
Malcolm Bird Recital Hall
3:00 p.m.
G^r,
Concert: $25
The University of Louisville School of M usic $ ^ ^
and the Jamey Aebersold Jazz Studies $ i 0
Program in collaboration with
The Kentucky Center presents:
Jon Hendricks
and Company
Jon Hendricks, vocal
Peter Mihilich, piano
Neal Miner, bass
Andy Watson, drums
Margaret Comstock Concert Hall
This performance is supported
in part by:
J.J.B. Hilliard , W.L. Lyons, Inc.
Open World Program - Library of
HILLIARD LYONS
J.J.B. HILLIARD,W.l_ LYONS. INC.
OTKPblTbltf MMP
OPEN WORLD
Congress
i
Sunday, February 26
(continued)
Jon Hendricks' appearance
is part of the nationwide NEA
Jazz Masters on Tour, an initiative
of the National Endowment
for the Arts sponsored by Verizon
in partnership with Arts Midwest.
Additional support is provided by the
Doris Duke Charitable Foundation
through a grant to Chamber Music
America.
School of
music
INIVERSITYqf I OULSVIIU-:.
dam to be urea t
Accomodations by
Executive Inn
Steinway by GIST PIANO CENTER
The official piano of Jazz Week
69
University of Louisville Jazz Ensemble I - John La Barbera, director
Saxophones
David Clark, alto
Alexis Marsh, alto
Tommy Zinninger, tenor
Jacob Goran, tenor
Luke Barker, baritone
Pine Bluff, AR
Winnipeg, CANADA
Louisville, KY
Champaign, IL
Louisville, KY
Trombones
Matt Yarborough
Chris Fortner
Audrey Davis
Anastasi Fafalios (bass)
Charlotte, NC
Floyds Knobs, IN
Louisville, KY
Belle Vernon, PA
Trumpets
Ryan Nottingham
Brian Koning
Matt Lawson
Brent Hall
Louisville, KY
Worchester, MA
Portland, ME
Winston-Salem, NC
Rhythm
Jon Epley, guitar
Sam Farley, piano
Natalie Boeyink, bass
Dan Dorft, drums
Greeneville, TN
Canton, OH
Bloomington, IN
Cincinnati, OH
University of Louisville Jazz Ensemble II - Jerry Tolson, director
Brian Koning & Matt Yarborough, graduate teaching assistants
Saxophones
David Whiteman, alto
John Pollard, alto
Zach Driscoll, alto
John Harden II, tenor
Nate McCoy, tenor
Merritt Navazio, baritone
Louisville, KY
Rome, GA
Taylorsville, KY
Indianapolis, IN
Murray, KY
Louisville, KY
Trombones
Matt Yarborough
Allison Cross
Walter Malzahn
Krista Eifler
Charlotte, NC
Louisville, KY
Louisville, KY
Newburgh, IN
Trumpets
Todd Obidowski
Jennifer Grant
Ryan Carpenter
Brian Koning
Butler, PA
Louisville, KY
Louisville, KY
Worchester, MA
Rhythm
Justin Hornback, piano
Anthony Ransom, piano
Jason Foureman, bass
Jenna Mattingly, bass
Jake Stith, guitar
Evan Pouchak, drums
John Alvey, drums
Louisville, KY
New Albany, IN
Greensboro, NC
Louisville, KY
Rineyville, KY
Troy, NY
Thompson's Station, TN
Program
Musicians
Jazz Week 2006
The University of Louisville School of Music
and the Jamey Aebersold Jazz Studies Program
present the
Open World Jazz Quintet
Wednesday, February 22
8:00 p.m. - Margaret Comstock Concert Hall
I Thought About You
Ravel
Blue in Green
Jam Point
Blues for Alice
Toot’s Prints
Swan’s Swim
Blue Moon
Winter
Frim Fram Sauce
Let’s Do It
Natalya Smirnova
Maxim Nekrasov
Maxim Belitskiy
Robert Pilyakalnis
Andrey Ivanov
Johnny Mercer
Jimmy Van Heusen
Maxim Nekrasov
Miles Davis
Maxim Nekrasov
Charlie Parker
Maxim Nekrasov
Russian Traditional
Richard Rodgers
Alsu
Joe Ricardel
Cole Porter
piano, vocal
harmonica
guitar
bass
drums
Program
Jazz Week 2006
The University of Louisville School of Music
and the Jamey Aebersold Jazz Studies Program
present
University Jazz Ensemble II
with Guest Adjudicators
Jerry Tolson, director
Brian Koning, graduate assistant
Matt Yarborough, graduate assistant
Thursday, February 23
8:00 p.m. - Margaret Comstock Concert Hall
Birks Works
John Birks Gillespie (1917-1993)
orr. Mike Tomaro
A Warm Breeze Sammy Nestico (b. 1924)
Fascinating Rhythm George Gershwin (1898-1937)
Ira Gershwin (1896-1983)
arr. Sammy Nestico
East of the Sun Brooks Bowman
arr. Brett Stamps
Gee Baby, Ain’t I Andy Razaf (1895-1973)
Good to You .Don Redman (1900-1964)
arr. John Oddo
Jim Widner, bass
% of the Time
Love Has Passed
Me By, Again
Jim Ketch, trumpet
Roger Newmann
Billy Strayhorn (1915-1967)
(continued on reverse)
School of
music
INIVERSl'IY of LOUISVILLE.
dare to be great
Thursday, February 23, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Convocation
Frost Fire
I. Bright and Fast
Eric Ewazen
(b. 1954)
Glass Brass
Brian Glass, trumpet Lindsay Pummell, horn
Charles Calloway, trumpet Sarah Finger, trombone
David Jaggie, tuba
MUS 119 / Heim
Andante et Allegretto Guillaume Balay
(1871-1943)
Joel Watson, B-flat trumpet
MUS 112 / Tunnell
Mary Ann Mattingly, piano
Three Etudes on Themes of Gershwin Paul Harvey
Summertime (b. 1947)
I Got Rhythm
Chris Phillips, clarinet
MUS 112 / Tidwell
The Open World Jazz Quintet
Program Selections to be Announced.
Natalya Smirnova, piano & vocal
Maxim Nekrasov, harmonica
Maxim Belitskiy, guitar
Robert Pilyakalnis, bass
Andrey Ivanov, drums
INIVERSITYof I DUISVILL K
dare to be great
presents
University
Symphony
Orchestra
Kimcherie Lloyd, director
Sunday Evening
February 26, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Pleasesilencecellphones, electronic watches and pagers. Thankyou
PROGRAM
Overture to A Midsummer Night's Dream, Op. 21 F. Mendelssohn
(1809-1847)
Piano Concerto No. 27 in B-flat Major, K. 595 W. A. Mozart
m. Allegro (1756-1791)
In-Ae Ha, piano
Winner of the 2005 University of Louisville
Preparatory Department Concerto Competition
PAUSE
Symphony No. 39 in E-flat Major, K. 543 W. A. Mozart
I. Adagio — Allegro
II. Andante con mo to
III. Menuetto & Trio — Allegro
IV. Finale — Allegro
BIOGRAPHY
In-Ae Ha (age 11) was born to a musical family on December 13,1994. Her
father, a doctoral candidate in choral conducting at the Southern Baptist
Theological Seminary, also conducts the Louisville Korean Women's Choir.
Her mother is a professional soprano. Her brother Daniel (age 8) also plays
the piano. In-Ae began piano study at the age of four with Mrs. Yoolmi Choi.
Since January 2002, she has been a pupil of Dr. Vernon Cherrix, faculty
member of the School of Music at the University of Louisville. In N ovember
2005 In-Ae was featured in Kentuckiana Parent magazine as a young classical
pianist.
In-Ae's musical talents began to blossom when she was eight, winning the
2003 Corneille Overstreet Competition. In the following year, she won the
KMTA Bluegrass Competition and the Young Classical Artists Competi¬
tion sponsored by WUOL and the University of Louisville. In February
2005, she played Chopin's Nocturne in E minor. Op. 72, No. 1, in a live
recorded concert for "From the Top," the NPR classical radio program that
features the best young classical artists from around the country. Last
year, In-Ae performed in Carnegie Hall as a result of winning the Second
United States Youth Piano and String Hymn Concours. Other winnings
include the Chopin Youth Piano Competition (Milwaukee, WI), the Young
Artist Concerto Competition sponsored by the Louisville Orchestra, and
the concerto competition sponsored by the Preparatory Department of the
University of Louisville School of Music, which enabled her to appear in
today's concert.
In-Ae's piano repertoire spans pieces from Baroque to Contemporary,
including J. S. Bach, Scarlatti, Haydn, Mozart, Beethoven, Chopin,
Mendelssohn, Liszt, Debussy, Paderewski, Copland, Moszkowski, and
Shchedrin. She is able to learn music very quickly, grasp its musical
meaning, and then perform it in the appropriate style. Her long-range goal
is to play the piano concertos of Grieg and Rachmaninov when her hands
grow larger.
Other than piano playing, In-Ae plays the violin, loves to read books, and
enjoys kids' programs on TV like other children. In-Ae and Daniel play
piano duets and also sing in the Evensong Choir at St. Francis in the Fields
Episcopal Church. They are students at Chenoweth Elementary School.
University Symphony Orchestra
Kimcherie Lloyd, director
Cary Cobb, assistant conductor
Noriko Taka, graduate assistant
Joe Ortiguera, graduate assistant
Kristin Roehrig, manager
First Violin
S cott Moore t
Juan Carlos Ortega
Joe Ortiguera
Elise Kotheimer
Gerome Stewart
Nicole Reiter
Second Violin
C ordia S. Thompkins %
Sowmya Srinivasan
Tanya Derringer
Leslie Heirrzen
Alex Petersen
Savannah Sharp
Marisa J. Barnes
Arezou Etemad
Alice Buchanan
Elizabeth Wooldridge
Viola
James Dersch %
Scott Farley
Monica Clarke
Alisson Reber
Sarah Speck
Hannah Turi
Cello
Marlene Ballena J;
Clayton Vaughn
Erin Cassel
Charlie Patton
Nicole Boguslaw
Katie Schladand
Fred Speck
Kristin Roehrig
Ben Sollee
Bass
Nick Wooldridge %
Adam Cobb
Elizabeth Adams
Charlie Blanton
Alice Markiewicz
Erica Jones
Chris Korenkiewicz
Flute
Rebecca Johnson
Amanda Taylor
Tyra Blasher
Katie Fondrisi
Oboe
Gretchen Reiter
Barbara Keys *
Clarinet
N oriko Taka
Amber Richeson
Michelle Linder
Bassoon
C arrie Baxter
Matthew Karr **
Horn
M att Smith
Dominic Rotella
Kate Reyman
Lindsay Pummell
Colin Dorman
Autumn Pate
Trumpet
Ryan Nottingham
Michael Swope
Daniel Whaley
Melissa McDaniel
Patrick McGinthy
Tuba
Aaron Gaither
Timpani
Matt Greenwood
t concertmaster
J principal
* guest
**faculty
School of
music
UNIVERSITY of IOUISVILLE.
-
dare to be great
presents
Krista Wallace-Boaz,
piano
with
Brett Shuster, trombone
Faculty Recital
Monday Evening
February 27, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. T hank you.
PROGRAM
Los Bandidos
Christian Lindberg
(b. 1958)
Elegie for Piano (1957)
Karel Husa
(b. 1921)
Concerto (1978)
I. Lyrique
II. Dolcissimo
EL Final
Ida Gotkovsky
(b. 1933)
Voyaging Through Strange Seas
of Thought, Alone (2004) *
Marc Satterwhite
(b. 1954)
*premiere
INTERMISSION
Andaluza from Pieces Espagnoles (1908)
Manuel de Falla
(1876-1946)
Suite de danza criollas (1946)
Adagietto pianissimo
Allegro rustico
Allegretto cantabile
Calmo e poetico
Scherzando — Coda
Alberto Ginastera
(1916-1983)
Sonata (2002)
I. Maestoso — Allegro molto
II. Very slow and freely
III. Allegro energico
John Stevens
(b. 1951)
music
INIVERSnY of 1DULSVILLE.
*** .. —■
dare to be great
presents
University
Symphonic Band
Frederick Speck, director
Tuesday Evening
February 28, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you
PROGRAM
Light Cavalry Overture (1866) Franz von Suppe (1819-1895)
Komm', siisser Tod (1736) J. S. Bach (1685-1750)
transcribed by Alfred Reed (1921-2005)
In memory of Alfred Reed
Sarah Danyi, conductor
In partial fidfillment of the requirements for the Master of Music degree
"Rejoicing" from Three Revelations from the Alfred Reed
Lotus Sutra
Aaron Bell, conductor
In partial fulfillment of the requirements for the Master of Music degree
A Movement for Rosa (1992) Mark Camphouse (b. 1954)
Honoring Rosa Parks (1913-2005)
bine Kleine Yiddishe Ragmusik (2003)
Adam Gorb (b. 1958)
University Symphonic Band
Frederick Speck, director
Flutes
Heather McCullum + Louisville
Amanda Adkins
Lara Wolff
Ty-Juana Taylor
John Aurelius
Megan Johnson
Villa Hills
West Chester, OH
Smiths Grove
Georgetown
Pekin, IN
Oboe
Andy Buchholz
Cleveland Heights, OH
Clarinets
Mara Rada t
Amanda Lochner
Carolyn Fassio
Adam Thomas
Michael Burkhead
Lashanda Walker
Louisville
Sellersburg, IN
Pendleton
Henderson
Louisville
Shelbyville
Bass Clarinet
Courtney Drown
Georgetown
Bassoon
Ashley Pickering
Louisville
Alto Saxophones
Amy Knight +
Matthew Reidinger
Newport, TN
Floyds Knobs, IN
Tenor Saxophone
George Flores
Winchester
Baritone Saxophone
Melanie Pulliam Owensboro
Trumpets
Don Johnson t
Raywick
Zachary Schell
Louisville
Charles Calloway
Cleveland, GA
Todd Obidowski
Butler, PA
Ryan Carpenter
Louisville
Aaron Bell
Louisville
Joel Watson
Henderson
Trombones
Brent Crimm +
Pewee Valley
Allison Cross
Murray
Krista Eifler
Newburgh, IN
Bass Trombones
Evan Bullock
Louisville
Euphoniums
Brendan Vincent t
Winchester
Jeff Buehring
New Albany, IN
Kim Texter
Louisville
Brandon Thomas
Elizabethtown
Tubas
Sara Doolin +
Harrodsburg
Mat Murphy
Columbus, OH
Stephanie Bragg
Elizabethtown
Percussion
Kelley Gibson t
Goshen
Phil Turner
New Albany, IN
Alyssa Spaulding
Goshen
Allen Artry
Indianapolis, IN
Horns
Miranda Polzer t Montreal, Canada
Jessica Niedwick Georgetown
Sara Poe Huntingburg, IN
Matt Peyton Marysville, IN
Stephanie Radcliffe Lexington
t principal
School of
music
IMVERSITYqf 1DUISYILUL
daiv to be great
Thursday, March 2, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Convocation
Sailor's Hornpipe
Henry Cowell
(1897-1965)
Saxophone Quartet
Amy Knight, alto George Flores, tenor
Matthew Reidinger, alto Melanie Pulliam, baritone
MUS 119 / Moore
Kinderszenen, Op. 15 Robert Schumann
VI. Wichtige Begebenheit (1810-1856)
VH. Traumerei
VH3. Am Kamin
XDI. Der Dichter spricht
Virginie Achim, piano
MUS 414 / Oliphant
Sonata in B-flat Major for Clarinet Johann Baptist Vanhal
I. Allegro moderato (1739-1813)
LaShanda Walker, clarinet
MUS 112 / Zavadil
David George, piano
Fantasiestiicke, Op. 12 Robert Schumann
II. Aufschwung
Sandra Duran, piano
MUS 303 / Kee
music
IMVERSITYqf IOUISVILLE.
^ "■ --
dare to be great
presents
Louisville Brass
and Friends
A Tribute to Leonard Bernstein
with
Krista Wallace-Boaz, piano
Brian Kushmaul, percussion
and the
University Orchestra Brass
Bruce Heim, conductor
Thursday Evening
March 2, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you
PROGRAM
Dance Suite
Dancisca (for Anthony)
Waltz (for Agnes)
Bi-Tango (for Misha)
Two-Step (for Mr. B)
MTV (for Jerry)
Leonard Bernstein
(1918-1990)
Brass Pieces
Elegy for Mippy I
Elegy for Mippy II
Elegy for Mippy IE
Rondo for Lifey
Fanfare for Bima
Leonard Bernstein
Three Preludes
George Gershwin
(1898-1937)
arr. Henry Howey
INTERMISSION
Shivaree
Leonard Bernstein
University Orchestra Brass
Bruce Heim, conductor
Music from West Side Story
Prologue
Something’s Cornin'
Maria
Tonight
America
One Hand, One Heart
I Feel Pretty
Somewhere
Leonard Bernstein
Louisville Brass
Michael Tunnell, trumpet Bruce Heim, horn
Herbert Koerselman, trumpet Brett Shuster, trombone
John Jones, tuba
University Orchestra Brass
Bruce Heim, conductor
Trumpet
Ryan Nottingham
Michael Swope
Daniel Whaley
Melissa McDaniel
Patrick McGinthy
Horn
Matt Smith
Dominic Rotella
Kate Reyman
Lindsay Pummell
Colin Dorman
Autumn Pate
Trombone
Ian Carroll
Brent Crim
Anastasi F afalios
Tuba
Aaron Gaither
Percussion
Matt Greenwood
music
IMVERSITYof IOUISVILLE.
“ ' --
dare to be great
Organ Guest Artist & Recital Series
presents
Robert L.
Boozman
Friday Evening
March 3, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Choral varie sur le theme Veni Creator, Op. 4 Maurice Durufle
(1902-1986)
The Gregorian chant is sung by the men of the Early Music Ensemble,
directed by Dr. Jack Ashworth
Come, Holy Ghost, our souls inspire, and lighten with celestial fire.
Thou the anointing Spirit art, who dost thy sevenfold gifts impart.
Thy blessed unction from above is comfort, life, and fire of love.
Enable with perpetual light the dullness of our blinded sight.
Anoint and cheer our soiled face with the abundance of thy grace.
Keep far our foes, give peace at home: where thou are guide, no ill can come.
Teach us to know the Father, Son, and thee, of both to be but One,
that through the ages all along, this may be our endless song:
praise to thy eternal merit. Father, Son, and Holy Spirit.
Lo, how a rose e'er blooming John Ferguson
(b. 1941)
Lo, how a Rose e'er blooming from tender stem hath sprung!
Of Jesse's lineage coming, as those of old have sung.
It came, a floweret bright,
amid the cold of winter, when half spent was the night.
Isaiah 'twas foretold it, the Rose I have in mind;
with Mary we behold it, the Virgin Mother kind.
To show God's love aright,
she bore to us a Savior, when half spent was the night.
Variations on From Heaven Above Walter Pelz
(b. 1926)
Theme:
From heav'n above to earth I come to bring good news to ev'ry one!
Glad tidings of great joy I bring to all the world, and gladly sing:
Variation I (canon at the octave)
To you this night is bom a child of Mary, chosen virgin mild:
This newborn child of lowly birth shall be the joy of all the earth.
Variation IV
May heart for very joy now leaps: my voice no longer silence keeps;
I too must join the angel-throng to sing with joy his cradle-song:
Variation VII
Were earth a thousand times as fair and set with gold and jewels rare,
still such a cradle would not do to rock a prince so great as you.
Variation EX (Fugato/Finale)
"Glory to God in highest heav'n who unto us his Son has giv'n."
With angels sing in pious mirth: A glad new year to all the earth!
Das Alte Jahr vergangen ist, BWV 614 Johann Sebastian Bach
(1685-1750)
The old year has passed; we thank you, Lord Jesus Christ,
that you have protected us so mercifully in such great danger this year.
Help us to leave off sinning and begin to grow faithful.
Do not think on the sins of the old year; grant us a year rich in grace.
Toccata, Adagio, and Fugue, BWV 564 Johann Sebastian Bach
Two movements from Music for Children William Walton
I. Allegro (1902-1983)
II. Allamarcia
Pastorale and Final from Sonata No. 1
Alexandre Guilmant
(1837-1911)
BIOGRAPHY
Robert L. Boozman serves on the Keyboard Faculty at the Univer¬
sity of Louisville School of Music as organ instructor and staff accompa¬
nist. He is Interim Director of Music at Christ Church Episcopal Cathedral,
directs the Saturday evening liturgy at St. Mark's Episcopal Church, and
maintains a private organ and vocal coaching studio. He previously held
the position of Associate Organist/Choirmaster at Grace-St. Luke Episco¬
pal Church, Memphis, Tennessee and was Dean of the Memphis Chapter
of the American Guild of Organists and Regional Coordinator for Profes¬
sional Development. He has also served as organist at Highland Presbyte¬
rian Church, and Associate Artistic Director of Voces-Novae, a semi-
professional community choir, both in Louisville.
He received the Bachelor of Music degree in Organ Performance
from the University of Oklahoma and the Master of Music degree in Organ
Performance from the University of Kansas City-Conservatory of Music
in Kansas City, Missouri.
In 1995, he was the winner of the Sigma Alpha Iota Organ Schol¬
arship Competition and First Runner-Up in the National Round of the
MTNA Collegiate Artist Competition in Organ Performance. Twice, he was
a chosen competitor in the National Young Artist's Competition in Organ
Playing sponsored by the American Guild of Organists. He was named
outstanding undergraduate organ student by the University of Oklahoma
and received the Graduate Achievement Award from the UMKC-Conser-
vatory of Music in 1994 and 1995.
Robert has served as accompanist to many choirs, singers and
instrumentalists as well as having concertized as an organist across the
country. He is organist and pianist for the Chancel Choir of First Presby¬
terian Church, Kirkwood, Missouri, on their recording entitled "I Hear that
Music Ringing," released in October 2004. In February 2006, he and Poet
Jonathan Bennett presented a service entitled "The Last Alleluia: Poetry
and Music for Epiphany" in Louisville, having originally compiled the
service in 2002 while Dean of the Memphis Chapter of the American Guild
of Organists. This spring, his solo appearances are in Louisville, Cincin¬
nati, Boise, and College Station.
In addition to his performing career, Robert is a contributor to
"Call to Worship: Resources for the Liturgical Year" published by the
Presbyterian Church USA, and has presented workshops to several chap¬
ters of the American Guild of Organists on topics such as "Worship
Planning for the Liturgical Year" and "A Better Place to Work: Professional
Development for the Church Musician." He has received a grant from The
Melbem G. Glasscock Center for Humanities Research" at Texas A&M
University, College Station, Texas, to present his research paper entitled
"A Defense of Leonard Bernstein's Interpretation of the Mozart Requiem in
April of this year. During his visit to College Station, he will also present
a lecture to the American Guild of Organists Chapter entitled Planning
Worship for the New Century: Historical models of worship lead us into
the future."
The University of Louisville Concert Organ - History
The Comstock Hall pipe organ at the University of Louisville School of Music was
built in 1980 by the Steiner Organ Company, now Steiner Inc. of Louisville There
are 48 voices (stops) and 60 ranks (sets) of pipes in the instrument. These stops
are playable over three manuals (keyboards) and the pedal, played, of course,
by the performer's feet.
The key action is mechanical or "tracker action," which means that the performer,
through trackers and levers, directly opens the valves which allow the wind into
the pipe. So, like a piano, the performer has a direct connection to the sound. This
is different than at electropneumatic organ, which still has pipes, but in which the
wind is allowed into the pipe by completing an electrical circuit when the key is
depressed.
At one point, when the organ department was especially thriving, the organ
underwent as many as 20 hours of practice a day - about 10 times the use a regular
church organ would get. Needless to say, over time, the instrument began to need
attention.
In the 1990s, electric manual couplers were installed to assist the player in
combining the various manuals together, reducing the stiffness of the key action
and making it easier to play. The keys themselves, made out of wood, had worn
down or had developed grooves in them from the rigorous practice schedule, and
were also resurfaced.
This past year, much has been done to improve the instrument in preparation for
new students and for this year's inaugural Guest Artist and Recital Series. Within
the body of the organ were two large automotive batteries with chargers which
helped to supply the high amperage required by moving the drawknobs (knobs
the performer pulls to select the various sounds). These have been replaced with
rectifiers, which are very reliable and do not have to be changed every few years
as the batteries did. The stop-action controllers were also replaced, making the
system that controls the drawknobs more reliable and much more quiet. These
are controlled by a set of buttons called pistons, which the performer uses to pre¬
set a combination of stops to make changes during a piece. This is how the
organist can make either gradual increases or decreases in sound and make
quick changes within a piece. Additionally, renovation work on the organ has
included recovering of some "winkers" or concussion bellows which are a shock
absorber for the wind system. This adjustment addressed some wind leaks which
had previously created hisses, thereby lightening and evening the key and pedal
touch. Robert L. Boozman, Lecturer in Organ Studies at UofL, recently played
the organ at the School of Music's Faculty Gala and demonstrated the revitalized
instrument in grand style.
The organ has been featured many times this year by faculty, students, and guest
artists at the University of Louisville. Please call 502-852-2122 or visit
music.louisville.edu/organ for more information about upcoming organ events.
The University of Louisville Concert Organ - Specifications
Steiner (1981) III-60
Pedal
Prinzipal - 16'.
Subbass - 16'
Floete - 8'
Oktave - 8'
Choral Bass - 4'
Nachthorn - 4'
Blockfloete - 2'
Mixtur - IV
Fagott - 32’
Posaune -16'
Trompette - 8'
Kornett - 4'
Oberwerk (under expression)
Bourdon -16'
Spitz Gedackt - 8'
Viola Celeste - 8'
Viola de Gamba - 8'
Prinzipal - 4'
Traversfloete - 4'
Nasat - 2 2/3'
Blockfloete - 2'
Terz - 1 3/5'
Siffloete -1'
Scharff Mixtur - IV
Dulzian -16'
Trompette - 8'
Oboe - 8'
Klarine - 4'
Tremulant
32 levels of memory
10 general pistons
6 divisional pistons
Tutti (not adjustable)
Hauptwerk
Gedackt Pommer -16'
Prinzipal - 8'
Rohrfloete - 8'
Spillfloete - 4'
Oktave - 4’
Waldfloete - 2'
Oktave - 2'
Sesqui Altera - II
Scharff - III
Mixtur - IV-VI
Trompette - 8'
Vox Humana - 8'
Positiv
Holz Gedackt - 8'
Quintade - 8'
Prinzipal - 4'
Koppelfloete - 4'
Oktave - 2'
Quinte -1 1/3'
Scharff-HI-IV
Rankett Regal -16'
Krummhorn - 8'
Tremulant
Couplers
Oberwerk to Pedal
Positiv to Pedal
Hauptwerk to Pedal
Positiv to Hauptwerk
Oberwerk to Hauptwerk
Oberwerk to Positiv
Both electricand mechanical
coupling action available
CHAMBER
MUSIC
SOCIETY
of Louisville
School of
music
WIVERSITYoflDUISVILLE
dare to be great
68th Season
Three Hundred Twenty-First Concert
of the Society
Berlin Philharmonic
Wind Quintet
Michael Hasel, flute
Andreas Wittmann, oboe
Walter Seyfarth, clarinet
Fergus McWilliam, hom
Henning Trog, bassoon
Margaret Comstock Concert Hall
University of Louisville School of Music
Sunday, March 5, 2006
3:00 P.M.
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
The Chamber Music Society was founded in 1938 by the University of
Louisville and operates in affiliation with the University of Louisville
School of Music.
The Chamber Music Series is dedicated to the memory of
Miriam Weis
(1921-1976)
These concerts are a tribute both to the music community...young and
old, professional and amateur...which received her loving attention, and
to this special music which she treasured.
Acknowledgments
The Chamber Music Society of Louisville is supported by the generosity of
numerous individuals and organizations who join in its purpose of presenting
performances of the world's best chamber music by its most renowned
artists. The Board of Trustees thanks all who contribute to this effort and
who help bring meaningful music to us all:
Society Sustainers, Benefactors, Patrons and donors
The Miriam Weis Endowment
The Gerhard Herz Estate
University of Louisville School of Music
Remaining Concert of the 2005-2006 Season:
April 23rd, Emerson String Quartet
You are invited to attend the Winners Recital of the
Macauley Chamber Music Competition
Sunday, March 26, 2006 - 7:00 p.m. - Malcolm Bird Recital Hall
music.louisville.edu/chambermusicsociety
Partial funding has been provided by The Kentucky Arts Council,
a state agency in the Commerce Cabinet with support from the
National Endowment for the Arts.
Major funding is provided by those who subscribe to the Society
as Sustainers, Benefactors, and Patrons.
The School of Music Building is wheelchair accessible.
r
Program
Trois pieces breves (1930)
Allegro
Andante
Assez lent, Allegro scherzando
La Cheminee du roi Rene (1939)
1. Cortege
2. Aubade
3. Jongleurs
4. La maousinglade
5. Joutes sur l’arc
6. Chasse a Valabre
7. Madrigal - nocturne
Quintet for Winds in G Minor *
Allegro con moto
Andante
Vivace
Intermission
Summer Music, Op. 31 (1956) Samuel Barber
(1910-1981)
Quintet No. 2 (1987) * Jean Francabc
Preludio (1912-1997)
Toccata, Allegro
Scherzando
Andante
Allegrissimo
* first performances for the Society
The Berlin Philharmonic Wind Quintet appears by arrangement with
David Rowe Artists, Marblehead, MA.
The Berlin Philharmonic Wind Quintet records exclusively for BIS.
The audience is invited to meet the artists following today's concert
in the Green Room behind the stage area.
Jacques Ibert
(1890-1962)
Darius Milhaud
(1892-1974)
PaulTaffanel
(1844-1908)
The Chamber Music Society
MEMBERS OF THE BOARD:
Ms. Robin Hicks, President
Ms. Barbara Sexton Smith, Vice-President
Marilyn Foulke, Secretary
Mrs. Jane Towery-Woolsey, Corresponding Secretary
Mr. Tom Pike, Treasurer
Ms. Barbara B. Brick, Executive Committee
Mr. Ben Franklin, Executive Committee
Dr. Acton Ostling, Jr., Executive Committee
Ms. Anne L. Pope, Executive Committee
Dr. Christopher Doane, Ex-Officio
Dr. Douglas Haynes
Mr. Bruce Heim
Ms. Jean Kalkhof
Dr. Brenda E. Kee
Mr. Peter McHugh
Mrs. Sarah Provancher
Mrs. Jacqueline Rosky
Mr. Jeff Stodghill
Mr. Dallas Tidwell
Ms. Kristin Drown Wingfeld
HONORARY MEMBERS:
Mr. Lee Luvisi
Mrs. Macauley Smith
Mr. Ferd B. Weis
SUSTAINERS:
Dr. and Mrs. Kenton Atwood
Mr. and Mrs. John Bickel
Ms. Barbara B. Brick
Drs. David Bybee and Polly Coombs
Drs. Marie and George Doyle
Mr. and Mrs. Ben Franklin
Dr. and Mrs. Douglas M. Haynes
Mr. and Mrs. Robert Kulp
Bell Miller
Anne L. Pope
Mr. Ferd B. Weis
Mrs. Jane Towery-Woolsey
BENEFACTORS:
Mr. and Mrs. John T. Bondurant
Ms. Alison Ewart and Mr. Paul Vice
Dr. and Mrs. Walter Feibes
Mrs. Emerson Foulke
Dr. Sue McGeehee Gilvin
Mr. Karl C. Gruen
Ms. Ruby E. Hampton
Mr. and Mrs. Jay Harris
Mr. Wallace R. Horine
Dr. Chester C. Kratz
Mr. and Mrs. Robert F. Logsdon
Judith McCandless and Grady Clay
Peter and Carole McHugh
Dr. and Mrs. Condict Moore
Mr. and Mrs. Louis J. Moseson
of Louisville 2005-2006
Dr. and Mrs. Alton E. Neurath, Jr.
Dr. Acton Osding, Jr.
Mrs. Jacqueline Rosky
Mr. and Mrs. Robert H. Schulman
Alice and Brooks Senn
Barbara Sexton Smith
Mr. and Mrs. Yandell R. Smith
Dr. James and Nan Spalding
Mr. Gene P. Stotz
Dr. and Mrs. Grant Taylor
Mr. and Mrs. Dallas Tidwell
Mr. and Mrs. James R. Voyles
Dr. and Mrs. Richard A. Ward
Dr. and Mrs. Robert L. Weaver
Jonathan and Martha Ziskind
PATRONS.
Mr. and Mrs. Stuart E. Alexander
Mrs. Charles M. Allen
Mrs. Ethel C. Baer
Carolyn K. Balleisen
Ms. Sara Bein
Mrs. Edith Bingham
Dr. C.W. Blair
Mr. A.D. Bos
Ms. Kathie M. Buchino
John F. Carroll
Dr. and Mrs. Dario A Covi
Frances Cummins
Mrs. William G. Earley
Mrs. Ewing A Fahey
Mrs. M.T. Fliegelman
Mrs. Alan Goldberg
Ms. Mary Louise Gorman
Ms. Kathy Gundersen
Ms. Marion Harcourt
Ms. Barbara B. Hardy
Mrs. Elizabeth Herz
Ms. Brooke Hicks
Dr. Frederic Hicks
Ms. Robin Hicks
Mr. David A Hoefer
Rose Isetti
Helene Katz
Dr. Brenda Kee
William Kelley III
Dr. Sandor Klein
Ms. Anne Ogden
Ms. Susannah Onwood
Mr. Peter D. Pecere
Mrs. Joan C. Rapp
Dr. and Mrs. Arthur Slavin
Mrs. Macauley Smith
Drs. James and Nan Spalding
Frank J. Swartz
Mr. and Mrs. William Walsh III
Up coming Events at the School of Music
(All events are admission free and field in Margaret Comstock Concert Hall,
unless otherwise noted. Events are subject to change.)
Monday, March 6 - 7:00 p.m.
Graduate Recital: Cary Cobb and David laggie, conducting. Cobb will lead
members of the University Symphony Orchestra performing the Sinfoniato Rossini's
Barber of Seville, Faure's P eUeasel M elisande orchestral suite, and the Allegro movement
from Mozart’s Concerto for Clarinet in A Major, K. 622 with soloist Noriko Taka. Jaggie
will conduct members of University Bands in a variety of works by Shostakovich,
Grainger, Sousa, Henry Fillmore, Michael Kamen, and Joaquin Turina.
Tuesday. March 7 - 7:00 p.m.
SeniorRecital: Ben Sollee, cello. This highly versatile artist returns from touring
internationally to present an eclectic program ranging from Bach, Bartokand Brahms
to traditional fiddle tunes and the jazz/funk piece "Acclamation and Amen" by UofL
composer John Spencer.
Wednesday. March 8 - 8:00 p.m.
Faculty Artists: Dallas Tidwell, clarinet, with Edith Davis Tidwell, soprano, and
the Kentucky Center Chamber Players. The program will feature the world
premiere of UofL faculty composer Steve Rouse's song cycle Identity Singing, as well
as Brahms' Clarinet Quintet in B Minor, Op. 115, Poulenc's Sonata for clarinet and piano, and
works by Iwan Muller and Theodore Antoniou.
Thursday. March 9 - 8:00 p.m.
University Student Composers. World premieres by the young composers of
today and tomorrow.
Friday. March 10-7:00 p.m.
Graduate Recital: Korin Kormick, mezzo-soprano. Winner of the 2005 Metro¬
politan Opera National Council Kentucky District Auditions, Kormick will perform
works by Bellini, Brahms, Boulanger, and others.
Friday. March 10-8:30 p.m.
Student Recital: The Jackson Five, brass quintet. Ryan McCaslin, Michael
Swope, Kate Reyman, Ryan Doughty, and Mat Murphy will perform works by Aaron
Copland, Victor Ewald, Thelonious Monk, William Brade, and Randall Reyman.
Sunday. March 12 - 3:00 p.m.
Friends of the School of Music Benefit Concert: The Steve Crews Quartet
presents “Jazz fora Sunday Afternoon." (The Jazz Factory, 815 W. Market St.) The event
will include food by Jarfi's Bistro, a cash bar, and free parking. Tickets are $75, $55
ofwhich is a tax-deductible contribution to scholarships at the University of Louisville
School of Music. Call (502) 852-6907 for reservations.
U of L Music Concert Line
PH: 502-852-0524
music.louisviIle.edu
j wsic
IMVERSTIYof I DUISVILLE ,
dare to be great
presents
Cary Cobb and David Jaggie
conducting students of Kimcherie Lloyd
with
Noriko Taka, clarinet
and
Members and Guests of the
University Symphony Orchestra and University Bands
Graduate Recital
Monday Evening
March 6,2006
7:00 p.m.
Margaret Comstock Concert Hall
voting is not permitted in the School of Music building. In the unlikely event office or other emergency, please
0 to the nearest exit. The use of recording devices and flash photography is strictly prohibited pLsEsnmce
“ L i phones, electronic watches and pagers. Thank you.
PROGRAM
Sinfonia from II Barbiere di Siviglia
Andante sostenuto - Allegro con brio
Gioachino Rossini
(1792-1868)
Concerto for Clarinet in A Major, K. 622
I. Allegro
Noriko Taka, clarinet
Wolfgang Amadeus Mozart
(1756-1791)
Pelleas et Melisande, Op. 80, Suite d'Orchestre
I. Prelude - Quasi adagio
II. La Fileuse - Andantino quasi allegretto
HI. Sicilienne - Allegretto molto moderato
IV. La Mort de Melisande - Molto adagio
Gabriel Faure
(1845-1924)
INTERMISSION
Festive Overture
Dmitri Shostakovich
(1906-1975)
Handel in the Strand
Percy Aldridge Grainger
(1882-1961)
Quintet
Michael Kamen
(1948-2003)
La Procession du Rocio
Joaquin Turina
(1882-1949)
Glory of the Yankee Navy
John Philip Sousa
(1854-1932)
Shoutin' Liza Trombone
Henry Fillmore
(1881-1956)
This recital is given in partial fulfillment of the requirements for the Master of Music degree.
PROGRAM NOTES
Sinfonia from II Barbiere di Siviglia Gioachino Rossi^
Andante sostenuto - Allegro con brio (1792-1868)
Rossini wrote operas in Italy during what became known as the bel canto (beautiful singing) period. The style
of the bel canto period was typified by an increased awareness of the virtuosic possibilities of the voice and its
use to make a beautiful sound. One important characteristic of Rossini's operas during this period is the "R 0ss ^
crescendo," in which a simple harmonic progression repeats and increases in volume until it reaches a goal both
dramatically and musically. This trademark appears both in the sung numbers of the opera, such as the Finale
of the First Act of the Barber of Seville, and in the sinfonias, or overtures.
Rossini's overtures generally utilize a consistent form. Albert Zedda, a renowned Italian opera scholar, elaborates
on what he calls the "archetypical structure," or the form of these overtures:
...an initial moderato, freely constructed, with no absence of lyrical expansion; a two-
themed Allegro, where the expressive climaxes are brought together at the end of the first
theme, composed of nervous string microstructures, and at the end by the overpowering,
ever-present crescendo that follows the performance of the second theme, entrusted to the
woodwinds. The repetition of the two themes is abbreviated by the suppression or
contraction of the connecting episode to the second theme; the conclusion is marked by a
blistering coda or by adequately developing cadences....
Thus the form is similar to sonata form without development, or "sonatina" form.
Zedda goes on to say this "constant archetypical structure.. .gives the [overtures] of Rossini musical character¬
istics of inexhaustible variety, so that none of them repeats emotions already experienced in the other, in spite
of the structural similarity." Each one of his overtures, including the Barber of Seville, contains a variety of aural
characters. Interestingly enough, this overture was not originally written for this opera but was borrowed by the
composer from a previous opera, Aureliano in Palmira.
Rossini retired after writing his final opera, William Tell, and lived for another 39 years in Paris, among other
places. He once hosted the young Richard Wagner in his home when Wagner was in town to produce Tannhauser.
Their conversation was recorded by a mutual friend, Edmond Michotte. At one point during that meeting,
Wagner praised Rossini's use of lyric expression in the Finale of Act El of William Tell : "the free vocal melody,
accentuating each word and sustained by the quick breathing passages for the violoncellos, attains the highest
summit of lyrical expression.” Knowing that Wagner's conception of his own music was the height of lyrical
™Z S '°v n 7™ W "? ly res P°" ded ', “ So 1 have composed 'music of the future' without knowing it?" Wagner
replied. You have made music for all time, maestro, which is better still."
Rossini scored his Barber of Seville overture for 2 flutes, 2 oboes,
timpani, bass drum, and strings.
2 clarinets, 2 bassoons, 2 horns, 2 trumpets,
Concerto for Clarinet in A Major, K. 622
I. Allegro
Wolfgang Amadeus Mozai
(1756-1791
and the last major work he comnleteH if W °( 30 <d f rme ^ clarinet concerto was the last concerto he wrot
of 1791 . pleted. It was finished m October, only two months before his death in Decembi
This work began in 1788 as a concerto for the basset horn. Mozart took a portion of that concerto and exnanHad
it to form the first movement of the clarinet concerto. He continued writing when approached bv Anton S
an important clarinetist in Vienna. Stadler had invented his own instrument, the basset clartaet with a ™ E e
extending a major third below that of the modem clarinet in A. WeU after Mozart's death publishers cha™S
the solo part to fit the standard instruments of the day, and they altered many of the arpeggios and figuration ^Z
fit those instruments. 00 6 11 lu
In order to perform this concerto on the modern clarinet, the clarinetist often transposes some of the figures up
an octave. For this performance, the soloist has chosen to omit certain notes that are out of range in order to
preserve the original register Mozart intended. In one section near the end of the recapitulation, Mozart appears
to have written an extra measure, but if one takes into account the range of the basset clarinet, it is apparent that
he was writing for the extra octave not available on the modem instrument. For this passage, the soloist will use
a mixture of registers to preserve the "extra" bar without simply repeating the middle octave.
The first movement of the clarinet concerto uses the standard concerto-sonata form. The exposition occurs in the
orchestra and repeats with the soloist playing, and the modulation to the dominant does not occur until the
second group of the solo exposition. The standard cadence on the dominant ends the exposition, and the
development begins to weave through the relative minor and the subdominant keys of F-sharp minor and D
major respectively. After a descending harmonic sequence in the bass, the retransition brings the music to the
recapitulation. Mozart changes the transition to the second group in order for the latter to be played in the tonic.
He also invents a new obbligato melody for the clarinet just before the second group of themes. The second group
builds to an exciting climax in which the clarinet arpeggiates to the high register before the final trill and cadence
of the solo part. The orchestra closes the piece with graceful themes from the first group.
Mozart's Clarinet Concerto is scored for 2 flutes, 2 bassoons, 2 horns, and strings.
Pelleas et Melisande, Op. 80, Suite d’Orchestre
Gabriel Fauh*
(1845-1924)
Gabriel Faure's music, like that of his rival Claude Debussy and his student Maurice Ravel, is categorized as
Impressionistic. His harmonic language supports this classification because chords often move stepwise rather
than in tonal progressions. Faure also calls for a smaller orchestra, considered a reaction by the Impressionists
to the increasingly large orchestras called for by German composers.
Faure's composition training included study with Saint-Saens, and this connection led to his career as an organist,
choirmaster, and composition teacher. Through the nurturing from the recognized master Saint-Saens, Faure
soon became an accomplished pianist, organist, and composer. The two were instrumental in founding the
Societe National de Musique to premiere new works by young French composers. For this reason, Faurd wrote
mostly songs and chamber music to be performed in the salons of Paris.
Faure frequently engaged in short-term romantic affairs which never blossomed into recorded relationships. One
affair which did become public knowledge was with Emma Bardac, a salon keeper in late nineteenth-century
Paris. He dedicated his song cycle. La Bonne Chanson, to her during their affair. However> his passion was not
enough for her: she married Debussy shortly after their affair ended.
The relationship between the two composers could not have been comfortable. Faure was the second choice of
the production staff to provide music for Maurice Maeterlinck's Symbolist play Pelleas et Melisande, which they
were producing in London during the summer of 1898. Debussy had written an opera on the same story three
years previously that had yet to be performed, and the producers wanted him to arrange incidental music from
his opera for their production. Debussy turned this offer down because he desired a performance o e comp e e
opera, although this did not occur until 1902. When asked by his publisher to explain his action, Debussy rnciu e
in his letter to them his view of Faure's music and patrons:
The impact of this music seems to me hardly likely to survive the current production and,
if I mav boast I don't see there can be any confusion between the two scores, at least not
in the matter of intellectual weight. In any case Faure is the mouthpiece of a group of snobs
and imbeciles who will have nothing whatever to do with the other Pelleas.
>iece to musicians and audiences. Faure himself was
its premiere several years later: "If that was music
I have no idea what music is.
Faure wrote all of the incidental music to Pelleas et Melisande at the piano in 1898, and his student Charles Koechlin
assisted him with the orchestration. Maeterlinck himself attended the performances in London and complimented
Faure for music that fit the play very well. Maeterlinck must have appreciated the music's flowing lines which
musically demonstrate the emotions and feelings of the characters.
Faure arranged this suite from the full incidental music in 1901 and reworked some of the orchestration himself,
The Prelude to the first act contains many different melodic lines interweaving freely, but throughout the
movement a consistent bass line anchors the tonality in G major. The harmonic language stems from the
contrapuntal use of the melodies and includes many seventh, ninth, and eleventh chords which contribute
richness to the overall sound. The orchestration is characterized by the use of the winds and brass in the middle
registers, and he often doubles across instrument families. The low strings form a constant foundation while the
higher strings are used in a variety of registers.
The flowing violin line of the Fileuse (spinning woman) suggests running water (Melisande is associated
frequently throughout the play with water). The two principal themes of the winds are first stated alone and then
woven together much like on a spinning wheel.
Faure wrote the Sicilienne in 1892 for another set of incidental pieces which were never performed. Its dance
character is unmistakable in the harp rhythm and the lyrical flute melody. It follows mostly an ABA form, and
the fluidity with which Faure returns to the A section is masterly: he overlaps the return so far into the previous
melody that the listener finds the return has begun without noticing its onset.
The final movement is a funeral dirge in the key of d minor. Although he weaves his melodies and harmonies
together through several keys, Faure never loses sight of the d minor goal. One can visualize Melisande passing
away in her naive innocence as Faure sets the dirge theme in a full orchestration and gradually lets the winds die
away until only solo flute and strings remain.
Obviously, Debussy could not foresee the appeal of Faure-sf
at no loss of words for his opinion of Debussy s Pelleas after
Gabriel Faure s Pelleas et Melisande is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets,
timpani, harp, and strings.
Festive Overture Dmitri Shostakovich
(1906-1975)
S" nn 9 ^/°h tt ”!, thlraeU ’ anniversary of the 1917 October Revolution, Dmitri Shostakovich's Festive
47 The overture ft i7 “ ntml * nls of a work whic h was composed ten years earlier, the Fifth Symphony, Op.
Meffi Palha^v'coT « y was Peered in 1954 at the Moscow Bolshoi Theatre with Alexsandr
sen^tiofatedbvfnd^?T’*?*" ±,teddate ' 19 M'(different from the autographed manuscript) is often
passing! E)ue to the beCaUSe if su 88 ests *« mfluenceof Joseph Stalta's recent
feelings toward Stalin rh TT' . tt ’ e . Te n th Symphony, Op. 93 which more overtly suggests the composer's
*e Menf to mo e fnn “ m,stakenI )' 8 r ™ped with this work. It is not inconcjvable, however, for
T° C T e 3 Stailarit y of between the overture and the Fifth Symphony,
with a triumohant hra« f Pn enuer ed on the twentieth anniversary of the October Revolution. The work begins
with a triumphant brass fanfare and quickly moves to a presto. The fanfare returns near the end of the work, and
in the original this is a spot Shostakovich composes for optional brass band. This musical moment also hiehlivht,
a significant difference between the original and transcription: the percussion parts. This evenine we will Z
performing Shostakovich's orchestral percussion parts, which differ in both rhythm and orchestration from
Hunsberger's. A coda follows the final fanfare, and gives a musical "tip of the hat" to fellow countryman Mikhail
Glinka's Overture to Ruslan and Lyudmila. Shostakovich does this by quoting the main motive of the first theme
group in Glinka's overture, a reference that would have been obvious for the Russian audience.
This transcription for band was prepared by Donald Hunsberger, former conductor of the famed Eastman Wind
Ensemble, and has sold more copies to date than any band composition. It was completed by Hunsberger in 1965
and its popularity prompted the transcription of three other Shostakovich works: Polka, Galop, and Folk Festival
all published in 1971.
Handel in the Strand Percy Aldridge Grainger
(1882-1961)
Percy Grainger grew up studying piano with his mother in Australia, and in her view they were "two Australians
against the world." In Grainger's teens they moved to Europe and he began studying with noted piano teacher
Ferruccio Busoni. By 1914 Grainger and his mother had immigrated to the United States and he was quick to
become an Army bandsman during WWI. It was during this assignment with the band that Grainger took a keen
interest in wind music. He quickly transcribed several previous works for the band medium and developed an
immense appreciation for the sound of wind instruments. It is interesting to note that for a period of time Grainger
and his publisher, Boosey and Hawkes, had an agreement in which B & H would lend him a new wind instrument
to take home and play every week. It is through this experience that Grainger, as a pianist, gained an insight into
writing for wind instruments. When playing any of the Grainger band works, a performer always notices how
well the part lies on the instrument. About his own music Grainger wrote, "I think my special style, if I have any,
arises out of having a craze for part writing that is always gadding about like traffic at Hyde Park Comer." Handel
in the. Strand certainly exemplifies this self-assessment, and one can clearly hear the continuous weaving of
melodies and countermelodies throughout the work. The piece's charm can be found in this spinning of lines and
the unique blend of instrumental colors that complement it. In the composer's preface to the score, Grainger
comments:
My title was originally "Clog Dance." But my dear friend William Gair Rathbone [to whom
the piece is dedicated] suggested the title "Handel in the Strand," because the music
seemed to reflect both Handel and English musical comedy [the "Strand," a street in
London, is the home of London musical comedy] as if jovial old Handel were careening
down the Strand to modem English popular music.
Quintet Michael Kamen
(1948-2003)
New York-born and Julliard-trained Michael Kamen is probably best known for his contributions to pop music.
The three-time Grammy winner gained fame early as a part of the New York Rock-'n'-Roll Ensemble, which was
featured on Leonard Bernstein's Young People's Concerts. Kamen went on to collaborate with Metallica, Pink
Floyd, Queen, Bryan Adams, Eric Clapton, David Bowie, and Aerosmith as both arranger and composer. Kamen
has also been nominated for two Oscars, and his movie credits include Die Hard, Lethal Weapon, Mr. Holland s Opus,
and Robin Hood: Prince of Thieves. Following the success of Mr. Holland's Opus, the composer established a charity
of the same name dedicated to making musical instruments available for underprivileged inner-city youth.
Kamen spent the last six years of his life battling multiple sclerosis and died of a heart attack at the age o ’ ty
five. Immediately before his passing, Kamen was working on a brass quintet commissioned by the Canadian
Brass, with whom the composer had an established relationship. The result is this sing e movemen wor ,
written in memory of September 11,2001. Three versions of Quintet exist: the original for quintet, the second to
dectet, and also an arrangement for band. This evening's concert features the composer's scoring for dectet.
La Procession du Rocio
Joaquin Turina
(1882-1949)
Toaquin Turina was an important figure in Spanish music of the early twentieth century. At the encouragement
of Issac Albeniz and Manuel de Falla, both of whom advised and supported Turina, the composer strayed from
his schooling at the Schola Cantorum in Paris. Under the tutelage of Vincent d'Indy at the Schola Cantorum,
Turina was well-trained in conventional forms and an academic style of composition, which he "abandoned" in
favor of music inspired by his homeland. He always felt a duty to Spanish music, however, and tried in vain to
have his first opera La sulamita produced at the Teatro Real. It would not be until the premiere of La Procession
du Rocio in 1913, by the Madrid Symphony Orchestra, that Turina's prominence as a composer would be
established. In 1918, he was asked to conduct performances of Sergei Diaghilev's Ballet Russe, and consequently
his stature as a conductor and composer grew. Following this success he was awarded a post teaching
composition at the Madrid Conservatory. Turina was soon deeply affected by the Spanish Civil War (1936-39) as
his family was persecuted and the composer himself came under attack. During this time Turina wrote no music.
Following the war, his reputation would be restored with an appointment as the Comisario General de la Musica,
and with this responsibility he dedicated himself to the reestablishment of Spanish music.
La Procession du Rocio remains Turina's most popular contribution to the orchestral repertoire. The work is a
symphonic poem in rondo form, and depicts a procession through Seville in honor of the Virgin del Rocio,
patroness of the area of the Quadalquirir marshes. The first movement, "Triana en fete," or feast in the city Triana,
opens with the dancing and celebration of the townspeople as the parade passes. Episodes, such as a drunkard
setting off fireworks, alternate with the celebration theme before being interrupted by the procession. The second
movement begins as the flute solo and accompanying percussion announce the formal ceremony. What follows
is a parade of wealthy families in coaches behind an image of the virgin in a mock pilgrimage. Turina quotes the
Spanish national anthem as a signal for the end of the ritual and the celebration continues through the night. The
town finally settles into a slumber and the work closes. Throughout his compositional career, Turina loved
simplicity and beauty in music, and no passage reflects this like the closing moments of La Procession.
This setting for band was transcribed by Alfred Reed, former arranger and conductor of the 529 th Army Air Corps
Band and longtime professor at the University of Miami. On September 17 th of last year, Reed died after a short
illness. During his lifetime Reed contributed eighty-four original and forty-nine transcribed/arranged works for
band.
Glory of the Yankee Navy John Philip Sousa
(1854-1932)
In the United States at the beginning of the twentieth century, no musician/composer was more widely known
than the "March King," John Philip Sousa. Sousa developed this reputation through his leadership of the United
States Marine Band and the immense popularity of his marches; at the time. Stars and Stripes Forever was the most
sold music composition in history.
Th ‘ C }°2. ° fthe Y ‘ mk ‘ e Navy was dedicated t0 Blanche Ring, the star of The Yankee Girl, a musical production for
which this march was composed. It was originally titled both Unde Sam's Navy and The Honor of the Yankee Navy.
21 war lomrX “"*? OU ^ Ut ' one , hundred thirty-six altogether, only The Glory of the Yankee Navy comes fror
woXnmlfh-1 was . not “common l or Souaa t0 write as mtmy as eight or ten marches in a year, however, thi
his bald^VsnhX d f Xr “ WhlCh S ° USa had Umited com P°sition opportunities due to the travel schedule c
1190(51 The r„> ttefact.fourimportimtmarchesmmefromthispenodrriichiBinaWeEflyleligOI), The Free Lam
L wZoZZTiZ “ d ne Glor y °f the Yankee N “°y (1909). These marches represent a change i
nLSaHr.2 ,h% 7 ey a /c better SUited f ° r * e concert sta 8 a than the parade block. It is in thi
tional concert t ^ c ^ e ®f C X ? ^ ouaa reIria ins. Through the performance of new compositions and interna
honal concert tours, Sousa legitimized the concert band as a viable musical entity.
Shoutin' Liza Trombone Henry Fillmore
(1881-1956)
Henry Fillmore was another of America's great march composers. The son of conservative music publishers
Henry began playing the trombone at an early age despite his father's belief that the instrument was too evil for
any righteous person to play. As a result of his long fascination with the circus, and the opportunity to play his
trombone, Fillmore ran away from home multiple times to perform with traveling circus bands. While playing
in the circus band, he also performed an act in which he leapt over elephants on a bicycle. Fillmore eventually
came back to his native Cincinnati and began publishing music through his father's company. It was with the
Syrian Temple Band of Cincinnati that Fillmore had his first experience as a conductor, and earned a lifelong
reputation for being the consummate showman. As a conductor, he was known for wearing a white suit, using
a very long baton, taking a very long bow, cheering on the band during the performance, and changing the music
through improvised dynamic alterations and cymbal crashes. He almost never conducted his music the same way
twice.
Shoutin' Liza Trombone is a smear, or march featuring the glissando of the trombone and influenced by the rhythms
and sounds of early jazz. This particular smear, written in 1920, quotes Handel's "Hallelujah Chorus" from the
Messiah and was originally titled Hallelujah Trombone. The use of this musical quotation and title of the work
outraged his father, who immediately recalled all of the parts. The work eventually was published under its
current name with the subtitle Mose Trombone's ah-finity, referring to a smear written the previous year. The
Fillmore Brothers Publishing House advertised the work as, "the latest member of Henry Fillmore's cullu'd
fambly —a jazz barber-shopped, camp meetin' style tune." All of the smears reflect an influence of minstrel
shows, and Sousa himself thought after performing some of these works that Fillmore must have been a black
man. Shoutin' Liza Trombone continues as a favorite among this genre.
Members and Guests of the University Symphony Orchestra
Cary Cobb, conductor
First Violin
Juan Carlos Ortega t
Nicole Reiter
Michael Lambert
Anna Dolan
Paola Manrique
Second Violin
Cordia S. Thompkins X
Leslie Heinzen
Chip Carnes
Alex Petersen
Arezou Etemad
Viola
Erin Rafferty |
Elena Dias
Cello
Clayton Vaughn X
Erin Cassel
Marlene Ballena
Bass
Adam Cobb X
Nick Wooldridge
Flute
Rebecca Johnson
Amanda Taylor
Oboe
Barbara Keys
Gretchen Reiter
Clarinet
Michelle Linder
Amber Richeson
Bassoon
Carrie Baxter
Jessica Hubbard
Horn
Colin Dorman
Autumn Pate
Lindsay Pummell
Dominic Rotella
Trumpet
Melissa McDaniel
Daniel Whaley
Timpani
Matt Greenwood
Percussion
Whitney Winstead
Harp
Amy Isbell
t concertmaster
J: principal
Members and Guests of the University Bands
David Jaggie, conductor
Piccolo
Katie Waters
Flute
Tyra Blasher
Amanda Taylor
Tiffany Wilson
Oboe
Barbara Keys
Gretchen Reiter
Clarinet
Courtney Drown
Michelle Linder
Chris Phillips
Linda Pulley
Amber Richeson
Amanda Wright
Bass Clarinet
Brad Baumgardner
Alto Saxophone
Kevin Arbogast
John Pollard
Baritone Saxophone
Daniel Reams
French Horn
Lindsay Pummell
Kate Reyman
Dominic Rotella
Matt Smith
Trumpet
Charles Calloway
Brian Glass
Ryan McCaslin
Ryan Nottingham
Michael Swope
Trombone
Evan Bullock
Brent Crimm
Sarah Finger
Aaron Stepp
Euphonium
Matt Byrum
Daniel Stull
Tuba
Aaron Gaither
Mat Murphy
Adam Yankowy
String Bass
Erica Jones
Percussion
Matt Greenwood
Andy Howell
Alyssa Spaulding
Ben Thompson
School of
music
IMVERSITYqf I0UISVIUE
--
dare to be great
presents
NASM
Reaccre ditation
Site Visit
Student Recital
Monday Afternoon
March 6, 2006
12:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thankyou
PROGRAM
Reveille
from Organbook I
Shu-Hui Tsai, organ
MUS 604 / Boozman
Three Etudes on Themes of Gershwin
Summertime
I Got Rhythm
Chris Phillips, clarinet
MUS 112 / D. Tidwell
La puerta del vino
from Preludes, Book II
Andrea Reynolds, piano
MUS 602 / Kee
Recitativo e Romanza
from I Capuleti e i Montecchi
Eccomi in lieta vesta ... Oh! Quante volte
Kelly Ballou, soprano
MUS 204 / E. Tidwell
David George, piano
Inspirations Diabolique
Movement I - Introduction
Ned Rorem
(b. 1923)
Paul Harvey
(b. 1935)
Claude Debussy
(1862-1918)
Vincenzo Bellini
(1801-1835)
Rickey Tagawa
(b. 1947)
Matt Greenwood, percussion
MUS 404 / Byrne
Suite in C Major, BWV 1009 Johann Sebastian Bach
Prelude (1685-1750)
Marlene Ballena, cello
MUS 304 / York
BASTA Folke Rabe
(b. 1935)
Ian Carroll, trombone
MUS 503 / Shuster
Four on Six Wes Montgomery
(1923-1968)
Brent Hall, trumpet
Jacob Goran, tenor sax
Jake Stith, guitar
Justin Homback, piano
Natalie Boeyink, bass
Evan Pouchak, drums
MUS 519 / Tolson
School of
music
INTVERSIIY of IOUISV1LLE
dare to be great
presents
Ben Sollee, cello
student of Paul York
accompanied by
Adrienne Fontenot, piano
and assisted by
Jonathan Epley, guitar
Senior Recital
Tuesday Evening
March 7, 2006
7:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Suite No. 1 in G Major, BWV 1007
Prelude
Allemande
Courante
Sarabande
Minuet
Gigue
Este A Szekelyeknel (An Evening in Transylvania) Bela Bartok
(1881-1945)
Acclamation and Amen John Spencer
(b. 1979)
J. S. Bach
(1685-1750)
PAUSE
Santa Anna's Retreat / Kitchen Gal
Jonathan Epley, guitar
Traditional
Sonata No. 1 in E Minor, Op. 38 Johannes Brahms
Allegro non troppo (1833-1897)
Allegretto quasi Minuetto
Allegro
This recital is given in partial fulfillment of the requirements
for the Bachelor of Music degree.
PROGRAM NOTES
Suite No. 1 in G Major J.S. Bach
In the Prelude Bach exploits the open strings of the cello. By
using rolling arpeggios across the strings he integrates the melody
and accompaniment. The melody is a simple neighboring-tone
motif. In the first four bars the melody and harmonic changes are
perched over a pedal-tone G that firmly establishes the tonic. This
sense of grounding gives Bach the ability to divert from the rolling
pattern for small periods of time to modulate. Yet, he always
maintains running sixteenth notes, providing a feeling of constant
motion. This unrelenting motion sets this Prelude apart from the
other six in that it is a consistent drive to a climactic ending.
The Allemande, in motion, is more contemplative. The glue
of the movement is still the running sixteenths; however, Bach
breaks up the momentum with chords that serve as points of
repose and also give the listener harmonic information. Through
these chords one can hear the modulation to the dominant key,
ending the A section and carrying over into the B section.
The fact that the suite is a collection of dance music becomes
apparent in the Courante. Bach again integrates melody and
accompaniment into a single voice, only this time using a different
technique. By leaping from low strings to the higher strings he
creates the impression of a conversational bass line and melody
within the round pulse of the triple meter.
The Sarabande is a reflective movement. In its hymnal
setting one can hear the neighboring-tone motif from the Prelude
and melodic material from the Allemande B section. Harmonically,
the Sarabande follows the circular form of departure from the tonic
key to the dominant and return to the tonic in conclusion.
The Minuet of tire G Major suite is the most curious of the
movements. As is typical of minuet and trio form, the trio is
contrasting, but Bach creates something particularly special in this
contrast. While the opening of the minuet is major and outwardly
playful, the trio is introspective. The key change to g minor is the
most noticeable quality. Less obvious is the shift to descending
melodic motion. This differs from the lifting motion of the Minuet
opening and, in general, much of the suite. Its appearance at this
late point in the suite is unusual, yet poignant.
Bach concludes the suite with the jubilant Gigue. The most
lisk in tempo of all the dance movements, tire constant drive of
eighth notes in 6/8 meter reminds one of the forward motion in the
Prelude. Having firmly rooted himself in G Major, one can hear
Bach playing with tiny diversions into the relative minor.
Este A Szekelyeknel Bela Bartok
Bela Bartok's famed love of folk music is evident in Este A
Szekelyeknel. Here he has arranged the piece so that, in his words,
"the folk melody is mounted like a jewel." Though Bartok does not
credit the melody to a specific source, one can hear its deep Slavonic
influences. Four distinct rhythmic variations of the melody can be
heard in this piece.
Acclamation and Amen John Spencer
Acclamation and Amen is a single-movement work
sectionalized into two polar landscapes. In the first section. Accla¬
mation, Mr. Spencer includes the text "Christ has died, Christ has
risen, Christ will come again." He sets this text melodically, enjoin¬
ing it with shouts of praise that hint at the energetic jazz lines of
Charlie Parker. Later in the section, melodic and rhythmic con¬
stancy break away, alluding to the mystery of Christ's resurrection.
The second section. Amen, is a prayer. The movement of both the
cello and piano into their higher registers invokes a feeling of
ascension. Mr. Spencer's linguistic treatment of melody gives one
the impression of being spoken to.
Santa Anna's Retreat/Kttchen Gal Henry Reed
The traditional fiddle tunes Santa Anna's Retreat and Kitchen
Gal come to us through the playing of Henry Reed. Henry Reed was
bom in 1884 in Monroe County, West Virginia. As a boy, playing
banjo, guitar, and fiddle, he shared music with his family and
friends, collecting hundreds of tunes. Alan Jabbour, folklorist and
friend of Henry's, said of Mr. Reed, "He was a kind of musical
encyclopedia of his region and era, and virtually every musical
influence that lingered from yore or wafted by from the world
about him seems to have been imprinted in his imagination."
Henry passed away in 1968, but these two fiddle tunes are lasting
memories of Mr. Reed's undiscriminating tune collecting. Santa
Anna's Retreat originated as a fife tune most likely passed down to
Henry through his mentor Quince Dillion. Kitchen Gal is an old-
time fiddle tune of Scottish descent.
Sonata No. 1 in E Minor Johannes Brahms
Brahms' Sonata No. 1 in E Minor for cello and piano can be
regarded as a portrait of the composer. The work encompasses
Brahms' respect for classical forms, his restrained sense of passion¬
ate romanticism, and his love of folk melodies.
The extensive first movement emerges with a deep, full-
bodied melody that carries the listener into an exposition filled with
thematic eruptions of folk-like melodies. One of the more impor¬
tant themes, later appearing at the climax of the first movement, is
introduced after the first theme's modulation through C Major.
Listen for the style hongrois (Hungarian style) that characterizes
much of Brahms’ work in the rhythmic and melodic movement of
the theme.
The second movement is a hybrid of classical form and
romantic style. Utilizing a minuet and trio format, Brahms con¬
trasts the baroque reservation of the minuet with the romantic
release of the trio. We hear Brahms dipping his brush in both of
these contrasting colors at once to create what Brahms scholar
Michael Musgrave describes as a "language with archaic qualities,
yet personal enrichments."
The fugal setting of the third movement is influenced
heavily by Bach's Art of the Fugue (Contrapunctus 13), but main¬
tains the style hongrois within its development. Brahms' fascination
with irregular rhythms and triplet figures (an influence of the
Hungarian and Gypsy folk music) is evident in this movement.
Listen for Brahms' sense of contrast between driving rhythm and
elegant melody as heard in the transition in to the first tranquillo.
Here we can also detect his tact for arrangement by realizing the
cello's movement to accompaniment of the piano.
It should be noted that this "cello sonata" is really a sonata
for both cello and piano. Brahms' writing for the piano is challeng¬
ing and vital to the development of melodic and harmonic material
in the piece. The relationship of cello and piano is one of conversa¬
tion, trading of melody, and, in tutti, sheer power.
BIOGRAPHY
At age 9, Ben Sollee began playing cello with the school orchestra
at Yates Elementary in Lexington, Kentucky. During the same time
Ben was training in gymnastics and, in one of his less impressive
schoolyard feats, he broke his wrist showing off a bar routine. The
doctor who set his wrist, unknowing of Ben's musical talents,
happened to cast it in a fashion that Ben could reach the cello.
Within a few days of the accident, Ben was playing and has been
sawing away on the cello ever since.
Bom and raised in Kentucky, Ben has spent his young life marinat¬
ing in traditions of Appalachian, Folk, Rhythm and Blues, and
Classical music. His grandfather, Henry Elvis Cornelius, was an
Appalachian fiddler and used to teach Ben old-time tunes in the
hills of Kentucky. Both of Ben's parents are musicians; his mother,
Myra Sollee, is a vocalist and his father. Bob Sollee, is a fine guitarist.
They provided a house full of musical instruments and music
ranging from Sam Cooke and Louis Armstrong to the Nitty Gritty
Dirt Band.
Now, Ben performs weekly on the internationally syndicated
Woodsongs Old-time Radio Hour. He tours extensively with up
and coming artist Abigail Washburn (Nettwerk Records) opening
for acts like Ricky Skaggs and Nanci Griffith. Ben also records and
tours with avant-garde bluesman Otis Taylor (Telarc Records)
opening for acts like Derek Trucks and Roy Hardgrove. On top of
that, he is currently finishing his cello performance degree at the
University of Louisville studying with Professor Paul York.
Ben's unique style of cello playing is a direct result of this diverse
background. Adding to Ben's aggressive, groove-oriented cello
playing is his poetic songwriting, addressing everything from
Germany's 1939 invasion of Poland to Americans' infatuation with
their cars.
This past year Ben performed in China with Abigail Washburn in
a band including fiddler Casey Driessen and Bela Fleck. The band
performed in Beiiing and Shanghai in venues ranging from the
2,000-seat performance hall at Beijing University to the residence of
the U.S. Ambassador to China, Clark T. Randt. That band has been
invited back for the first U. S. cultural mission to Tibet to occur in
late fall this year.
School of
music
UNIVERSITY of IDUISVILLE
dare to be great
presents
Michael Swope,
trumpet
student of Michael Tunnell
with
Deborah Dierks, piano & harpsichord
Student Recital
Tuesday Evening
March 7, 2006
8:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devicesandfash photography is
strictly prohibited. Pleasesilence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Concerto
I. Andante
II. Adagio
III. Presto
Alessandro Marcello
(1684-1750)
Concerto
I. Allegro
II. Largo
III. Vivace
Johann Baptist Georg Neruda
(1707-1780)
INTERMISSION
Concoctions
John Cheetham
(b. 1939)
Nightsongs
Richard Peaslee
(b. 1939)
^'music
UNIVERSITYof IOUEVILLE
""-
dare to be great
presents
Dallas Tidwell, clarinet
David George, piano
assisted by
Edith Davis Tidwell, soprano
and the
Kentucky Center Chamber Players
Faculty Recital
Wednesday Evening
March 8, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonata for clarinet and piano
Allegro tristamente
Romanza
Allegro con fuoco
Francis Poulenc
(1899-1963)
Lament for Manos
for solo clarinet
Theodore Antoniou
(b. 1935)
"Ecco ridente in cielo" from
Der Berbier von Sevilla
Iwan Muller
(1786-1854)
Identity Singing (2006)
for soprano, clarinet, and piano *
I. The Bird
II. Intervals
III. Some Echoes
IV. Midnight
V. All the Way
VI. Sparks Street Echo
VII. Boat
Steve Rouse
(b. 1953)
•
*worldpremiere
INTERMISSION
Clarinet Quintet in B Minor, Op. 115
Allegro
Adagio
Andantino
Con moto
Johannes Brahms
(1833-1897)
Kentucky Center Chamber Players
Peter McHugh, violin Marcus Ratzenboeck, violin
Jamie Hofman, viola Megumi Ohkubo, cello
TEXTS
by Robert Creeley
I. The Bird
What did you say to me
that I had not heard.
She said she saw
a small bird.
Where was it.
In a tree.
Ah, he said, I thought
you spoke to me.
II. Intervals
Who
ami —
identity
singing.
Place a lake
on ground, water
finds a form.
Smoke
on the air
goes higher
to fade.
Sun bright,
trees dark green,
a little movement
in the leaves.
Birds singing
measure distance,
intervals between
echo silence.
III. Some Echoes
Some echoes,
little pieces,
falling, a dust,
sunlight, by
the window, in
the eyes. Your
hair as
you brush
it, the light
behind
the eyes,
what is left of it.
IV. Midnight
When the rain stops
and the cat drops
out of the tree
to walk
away, when the rain stops,
when the others come home, when
the phone stops,
the drip of water, the
potential of a caller
any Sunday afternoon.
V. All the Way
Dance a little,
don't worry.
There's all the way
till tomorrow
from today
and yesterday
Simple directions, direction,
to follow.
VII. Boat
VI. Sparks Street Echo
Flakes falling
out window make
no place, no place —
no faces, traces,
wastes of whatever
wanted to be —
was here
momently, mother,
was here.
Rock me, boat.
Open, open.
Hold me,
little cupped hand.
Let me come in,
come on
board you, sail
off , sail off...
Upcoming Events at the School of Music
(All events are admission free and held in Margaret Comstock Concert Hall,
unless otherwise noted. Events are subject to change.)
Thursday. March 9 - 8:00 p.m.
University Student Composers. World premieres by the young com¬
posers of today and tomorrow.
Friday, March 10 - 7:00 p.m.
Graduate Recital: Korin Kormick, mezzo-soprano. Winner of the 2005
Metropolitan Opera National Council District Auditions, Kormick will perform
works by Bellini, Brahms, Boulanger, and others.
Friday. March 10 - 8:30 p.m.
Student Recital: The Jackson Five, brass quintet. Ryan McCaslin,
Michael Swope, Kate Reyman, Ryan Doughty, and Mat Murphy will perform
works by Aaron Copland, Victor Ewald, Thelonious Monk, William Brade, and
Randall Reyman.
Sunday. March 12 - 3:00 p.m.
Friends of the School of Music Benefit Concert: The Steve Crews Quartet
presents "Jazz fora Sunday Afternoon." (The Jazz Factory, 815 W. Market St.)
The event will include food by Jarfi's Bistro, a cash bar, and free parking.
Tickets are $75, $55 of which is a tax-deductible contribution to scholarships
at the University of Louisville School of Music. Call (502) 852-6907 for
reservations.
U of L Music Concert Line
PH: 502-852-0524
music.louisville.edu
School of •
music
INIVERSnYof I DULSVILLE.
dam to be gmat
Thursday, March 9, 2006 Convocation
3:00 p.m.
Margaret Comstock Concert Hall
Alpha
Kate Reyman, horn
MUS 204 / Heim
Debbie Dierks, piano
Jean-Michel Defaye
(b. 1932)
Acht Stiicke Paul Hindemith
m (1895-1963)
IV
vn
Ty-Juana Taylor, flute
MUS 212/Gottlieb
Sonata No. 2 in D Major, BWV 1028 Johann Sebastian Bach
Allegro (1685-1750)
Alice Markiewicz, double bass
MUS 212 / King
Austin Echols, piano
East Wind
Amanda Taylor, flute
MUS 401 / K. Karr
Shulamit Ran
(b. 1949)
Concerto in B-flat Major
Adagio
Nicole Boguslaw, cello
MUS 104 / York
Jim Dersch, piano
Luigi Boccherini
(1743-1805)
School of
music
INIVERSITYof IDUISVILLE.
dare to be great
presents
University
Student
Composers
Thursday Evening
March 9, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Nahe des Geliebten (2005) Shaun David Crowdus
(b. 1979)
Korin Kormick, mezzo-soprano
Erica Jones, bassoon
Whitney Winstead, percussion
Amy Isbell, harp
Allison Reber, viola
R. Scott Adams, conductor
Ballet pour un petit chat noir (2005) Brad Baumgardner
(b. 1980)
Tyra Blasher, flute
Michelle Linder, clarinet
Tammy Fust, percussion
Monica Clarke, piano
Cordia Thompkins, violin
Kristin Roehrig, cello
Firenze (2003)
Christopher D. Hogan
(b. 1981)
Digital playback
Echoes of Light (2005)
[in two movements]
Tyra Blasher, flute/piccolo
Christian Gentry, piano
Nick Drake
(b. 1978)
The Arfure Story (2005)
Joseph A. R. Healy
(b. 1981)
Joseph A. R. Healy, recorded voice
The One Who Rotates the Earth for You (2006) Rob Collier
(b. 1980)
Jacob Duncan, alto saxophone
Ian Carroll, trombone
Craig Wagner, electric guitar
Rob Collier, electric bass
Clayton Vaughan, cello
Liz Adams, double bass
from Little Dark Clouds (2004/05)
Deep in Earth
Evening Star
Ryan Doughty
(b. 1980)
Rianne Marcum, mezzo-soprano
Erica Jones, double bass
Jim Dersch, piano
"Fourth King" Reminiscence (2005)
Digital playback
R. Scott Adams
(b. 1982)
The Sands of Brass (2004) Christopher D. Hogan
Kate Reyman, solo horn
Katie Fondrisi & Amanda Taylor, flute
Gretchen Reiter, oboe
Chris Phillips & Courtney Drown, clarinet
Brad Baumgardner, bass clarinet
Kevin Arbogast & Amy Knight, alto saxophone
George Florez, tenor saxophone
Michael Swope & Patrick McGinthy, trumpet
Aaron Stepp & Sarah Finger, trombone
Mat Murphy, tuba
Aaron Bell, conductor
PROGRAM NOTES
(written by the composers)
Nahe des Geliebten
Ndhedes Geliebten
Ich denke dein, wenn mir der
Sonne Schimmer
Vom Meere strahlt;
Ich denke dein, wenn sich
Mondes Flimmer
In Quellen malt.
Ich sehe dich, wenn auf dem
fernen Wege
Der Staub sich hebt;
In defer Nacht, wenn auf dem
schmalen Stege
Der Wandrer bebt.
Ich hore dich, wenn dort mit
dumpfem Rauschen
Die Welle steigt.
Im stillen Haine geh ich oft
zu lauschen,
Wenn alles schweigt.
Ich bin bei dir, du seist auch noch
so feme,
Du bist mir nah!
Die Sonne sinkt, bald leuchten mir
die Sterne.
O warst du da!
-Goethe
Shaun David Crowdus
Nearness of the Beloved
I think of you when from the sea
the shimmer
Of sunlight streams;
I think of you when on the brook
the dimmer
Moon casts her beams.
I see your face when on the
distant highway
Dust whirls and flakes.
In deepest night when on the
mountain byway
The traveller quakes.
I hear your voice when, dully
roaring, yonder
Waves rise and spill;
Listening, in silent woods I often
wander
When all is still.
I walk with you, though miles
from you divide me;
Yet you are near!
The sun goes down, soon stars
will shine to guide me.
Would you were here!
-trans. Christopher Middleton
This poem was taken from Goethe: Selected Poems, Vol. 1 which was
published by Princeton University Press in 1983 and translated by Chris¬
topher Middleton. The translation is printed with his permission.
Often times when writing a piece I am asked what I am thinking
or feeling that helps guide my musical ideas. For this piece I can simply say
that the poem speaks for itself, and as for the question, "to whom it may
refer," I shall keep that to myself.
Ballet pour un petit chat noir Brad Baumgardner
This piece was inspired by my house cat. I don't really care for her
that much, but my wife seems pretty fond of her. I just can't seem to figure
her (the cat, not my wife) out. The title is in French because even after 2
semesters of limited study the language is still a great mystery to me, so
it just seemed to fit.
Christopher D. Hogan
Firenze . . 2001 to Florence, Italy. Over-
was 'Xt„7b e au^f i.s renaissance structures, I felt
whelmed by *ep rich history dominated by artistic innovation rein
entrenched withm ' and fierce conflict. As the piece unfolds,
ta"are outside o, a'cafe, a lonely
1 f tar nlaver strums a melody that is as haunting as it is beautiful, pigeons
Send over the heads of painters; the meticulous detail crafted withm t e
ornaments of every structure makes the city itself a masterpiece. Yet, a
moment's reflection on what the glorious structures and proud streets
have seen over a thousand years is chilling and spectacular. The mighty
Duomo, the Santa Maria del Fiore Cathedral, lies at the heart of the city, as
it lies at the heart of this composition. It was there that I conceived t is
melody, and it is this melody that always takes me back. This is my small
tribute to Firenze.
Echoes of Light Nick Drake
This brief work in two movements is based on sonic images created
in my imagination around descriptions of light from explosions in space.
The echoing of light through space is similar to the echoing of sound
through air. In space, as light from an explosion continues to move
outwards, different parts of the dust are illuminated. Similarly, as sound
bounces off of objects near the source, and later, objects further from the
source, the sound may refocus and sometimes become brighter.
The Arfure Story Joseph A. R. Healy
TheArfure Story is a brief summary of a book. School, I am currently
writing. Arfure is a subfie who is trapped in a time of turmoil. Her village
is attacked by Cowslip's army, the dee-a-caths and serlics. Arfure barely
escapes the village alive. Later that night, she is visited by a figure while
lying in the grass catching her breath. The figure tells Arfure that she is
very important to her people and the humans, who are almost extinct.
Arfure's descendants will end the misery of Cowslip's oppression. Two
humans by the name of Photterah and Eyacial, dedicate their lives to keep
Arfure safe from Cowslip, for he knows the prophecy as well. The piece was
composed using several programs - Digital Orchestrator Pro, Acid Pro 4.0,
and Protool - to produce its final product. The piece was completed in April
The One Who Rotates the Earth for You Rob Collier
This piece started as a duet for cello and double bass. The two
instruments were playing simple, repetitive, contrapuntal patterns of
different lengths, all in straight eighth notes. As I was writing, I began
hearing thicker textures and more complex rhythmic structures. I gradu¬
ally added electric instruments and wind instruments to the ensemble.
The finished composition combines elements of rock, jazz, and classical
music, both in instrumentation and in the music itself.
from Little Dark Clouds Ryan Doughty
"Deep in Earth" and "Evening Star" are songs with text by Edgar
Allen Poe. In the spirit of Poe's writing, the object was to make these poems
darker and more twisted than what they were originally intended to be.
Each song is my own interpretation of these poems.
Deep in Earth my love is lying
and I must weep alone.
Unknown to the vocalist, the love she is singing about is buried
alive underneath. The buried love struggles violently. Running out of air
and energy, he knocks from inside his coffin until he passes away.
'Twas noontide of summer.
And mid-time of night;
And stars, in their orbits.
Shone pale, thro' the light
Of the brighter, cold moon,
'Mid planets her slaves.
Herself in the Heavens,
Her beam on the waves.
I gaz'd awhile
On her cold smile;
Too cold — too cold for me —
There pass'd, as a shroud,
A fleecy cloud,
And I turn'd away to thee.
Proud Evening Star,
In thy glory afar.
And dearer thy beam shall be;
For joy to my heart
Is the proud part
Thou bearest in HeaVn at night.
And more I admire
Thy distant fire,
Than that colder, lowly light.
The vocalist reminisces about someone she admires. Throughout
the song, however, her emotions seem to spiral down to sarcasm and
cynicism.
"Fourth King" Reminiscence R. Scott Adams
My very first complete composition was a short piano prelude to
a new stage drama entitled "The Fourth King." Due to its overwhelming
acceptance by the audience, I decided to undertake a vast expansion and
orchestration of the material, transforming it into a full-scale concert
overture for piano and orchestra. This complete version was subsequently
performed twice during my senior year at Asbury College. Needless to say,
the musical material has earned an important place in my heart.
When I set out to compose my first digital work, I wanted to bring
some of that material forward into the kind of sound world I work with
now. Some parts of "Fourth King" Reminiscence are digital re-creations
of the original material. For instance, the beginning is a quote from the
overture presented almost verbatim. However, as the work progresses,
some new material is presented, intermingled with processed sound bites
from a live performance of the overture. The piece does not focus on
development, but rather progresses in a rather static fashion, interrupted
periodically by brief "reminiscent" episodes. In essence, this work is a sort
of nostalgic reconciliation with a piece that played a key role in my
development as a composer.
The Sands of Brass Christopher D. Hogan
The Sands of Brass is set for horn solo and wind ensemble. While the
piece could be categorized as absolute music, it is essentially a heroic
journey from beginning to end with the horn carrying the role of hero.
Commonly pitting innocence versus power in the woodwinds and brass,
respectively, the horn lies at the center in a struggle to find its peace. The
work is made up of two major sections, the first rich and colorful with the
horn's melody speaking with curiosity. The second section is filled with
a journeying sense of momentum and a powerful, triumphant melody.
Moving through an array of musical settings, the piece demands a sense of
pride for the struggling hero. Optimism and ambitions surround his
experiences, and he ultimately finds his place.
IMVERSITYof IOUISVILLE
dare to be great
presents
Korin Kormick
mezzo-soprano
student of Daniel Weeks
with
Deborah Dierks, piano
and
James Dersch, viola
Graduate Recital
Friday Evening
March 10, 2006
7:00 p.m.
Margaret Comstock Concert Hall
Lirjtis is not permitted in the School of Music building. In the unlikely event office or other emergency, please walk to the nearest exit The
“of recording devices and flash photography is strictly prohibited. Please silence cell phones, electronic watches and racers. Thank you.
presti omai
from Giulio Cesare
Vergnugte Ruh
from Cantata 170
PROGRAM
George Frideric Handel
(1685-1759)
Johann Sebastian Bach
(1685-1750)
Tre ariette Vincenzo Bellini
II fervido desiderio (1801-1835)
Dolente immagine di Fille mia
Vaga luna che inargenti
Zwei Gesange fur eine Altstimme mit Bratsche und Klavier, Op. 91 Johannes Brahms
I. Gestillte Sehnsucht (1833-1897)
II. Geistliches Wiegenlied
PAUSE
Quatre chants pour voix et piano
1. Dans l'immense tristesse
2. Attente
3. Reflets
4. Le Retour
Songs to texts of Emily Dickinson
Heart! We Will Forget Him!
Good Morning, Midnight
The Heart Asks Pleasure First
The Imperial Heart
It s All I Have to Bring Today
The Bustle in a House
Heart, We Will Forget Him
Lili Boulanger
(1893-1918)
John Duke (1899-1984)
John Duke
Ernst Bacon (1898-1990)
Ernst Bacon
Ernst Bacon
William Bolcom (b. 1938)
Aaron Copland (1900-1990)
This recital is given in partial fulfillment of the requirements for the Master of Music degree.
Y °U ARE CORDIALLY INVITED TO ATTEND A RECEPTION IN THE GREEN ROOM FOLLOWING THE PERFORMANCE
iij/vil? muL/ iivniiLfuJ** w
Presti omai
FROM GlULIO CeSARE
Presti omai l'Egizia terra
le sue palme al vincitor.
Vergnugte Ruh
from Cantata 170
Vergnugte Ruh, beliebte Seelenlust,
Dich kann man nicht bei Hollensiinden,
Wohl aber Himmelseintracht finden;
Du starkst allein die schwache Brust.
Drum sollen lauter Tugendgaben
In meinem Herzen Wohnung haben.
Tre Ariette
II fervido desiderio
Quando verra quel di
che riveder potro
quel che l'amante cor tanto desia?
Quando verra quel di
che in sen t'accogliero,
bella fiamma d'amor, anima mia?
Dolente immagine di Fille mia
Dolente immagine di Fille mia,
perche si squallida mi siedi accanto?
Che piii desideri? Dirotto pianto
io sul tuo cenere versai finor.
Temi che immemore de' sacri giuri
io possa accendermi ad altra face?
Ombra di Fillide, riposa in pace;
e inestinguibile l'antico ardor.
Vaga luna che inargenti
Vaga luna, che inargenti
queste rive e questi fiori
ed inspiri agli elementi
il linguaggio dell'amor;
testimonio or sei tu sola
del mio fervido desir,
?d a lei che m'innamora
:onta i palpiti e i sospir.
)ille pur che lontananza
l mio duol non puo lenir,
he se nutro una speranza,
lla e sol nell'avvenir.
'ille pur che giomo e sera
mto Tore del dolor,
le una speme lusinghiera
i conforta nelTamor.
George Frideric Handel
(text by Nicola Francesco Haym)
Now let the land of Egypt bestow
Its palms upon the victor!
Johann Sebastian Bach
(text adapted from Romans VI: 3-11)
Contented rest, beloved soul's desire.
You cannot be found among the sins of Hell,
But rather in heavenly harmony;
You alone strengthen the weak breast.
Thus shall pure virtue's gifts
Have a dwelling place within my heart.
Vincenzo Bellini (texts Anonymous)
The fervent wish
When will that day come
when I may see again
that which the loving heart desires so much?
When will that day come
when I welcome you to my bosom,
beautiful flame of love, my soul?
Sorrowful Image of my Phyllis
Sorrowful image of my Phyllis,
why do you sit so desolate beside me?
What more do you wish for? Streams of tears
have I poured on your ashes.
Do you fear that, forgetful of sacred vows,
I could be ignited by another torch?
Shade of Phyllis, rest in peace;
the old flame cannot be extingushed.
Lovely moon, who sheds silver light
Lovely moon, who sheds silver light
On these shores and on these flowers
And breathes the language
Of love to the elements.
You are now the sole witness
Of my ardent longing.
And can recount my sighs and heartbeats
To her who fills me with love.
Tell her too that distance
Cannot assuage my grief.
That if I cherish a hope.
It is only for the future.
Tell her that, day and night,
I count the hours of sorrow.
That an enticing hope
Comforts me in my love.
m Gesange FOR eine Altstimme
mit Bratsche und Klavier, Op. 91
estillte Sehnsucht
t eold'nen Abendschein getauchet,
lie feierUch die Walder stehn!
[ leise Stimmen der Voglein hauchet
, es Abendwindes leises Weh'n.
/as lispeln die Winde, die Vogelein?
ie lispeln die Welt in Schlummer ein.
u Wiinsche, die ihr stets euch reget
jn Herzen sonder Rast und Ruh!
hi Sehnen, das die Brust beweget,
lam ruhest du, warm schlummerst du?
eim Lispeln der Winde, der Vogelein,
u sehnenden Wiinsche, warm schlaft ihr ein?
t ch, wenn nicht mehr in gold'ne Femen
lein Geist auf Traumgefieder eilt,
[icht mehr an ewig femen Stemen
lit sehnendem Blick mein Auge weilt;
lann lispeln die Winde, die Vogelein
lit meinem Sehnen mein Leben ein.
Johannes Brahms
(texts by Friedrich Ruckert [no. 1] and
Emanuel von Geibel, after Lope de Vega [no. 2])
Stilled Longing
Steeped in a golden evening glow,
how ceremoniously the forests stand!
In gentle voices the little birds breathe
the evening breeze's soft lament.
What does the wind whisper, and the little birds?
They whisper the world into slumber.
You desires that constantly arise
in my heart without pause or peace!
You longings that move my heart.
When will you rest, when will you sleep?
By the whispering of the wind, and of the little birds?
You yearning desires, when will you fall asleep?
Alas, when no longer into the golden distance
does my spirit rush on the wings of dreams,
when no more on the faraway, eternal stars
does my eye cast a lingering glance;
Only then will the wind and the little birds
Whisper away my longing, along with my life.
Jeistliches Wiegenlied
Holy Cradle-Song
tie ihr schwebet
fm diese Palmen
l Nacht und Wind,
lr heilgen Engel,
tillet die Wipfel!
s schlummert mein Kind.
You who hover
Around these palms
In night and wind.
You holy angels.
Silence the treetops!
My child is sleeping.
ir Palmen von Bethlehem
n Windesbrausen,
fie mogt ihr heute
d zomig sausen!
* rauscht nicht also!
dnveiget, neiget
uch leis und lind;
tillet die Wipfel!
s schlummert mein Kind.
You palms of Bethlehem
In the roaring wind.
How you like to
Bluster so angrily today!
Do not rustle so!
Be still, bow yourselves
Softly and gently;
Silence the treetops!
My child is sleeping.
er Himmelsknabe
uldet Beschwerde,
ch, wie so mud er ward
3m Leid der Erde.
ch nun im Schlaf ihm
‘ise gesanftigt
Qual zerrirmt.
illet die Wipfel!
1 sc hlummert mein Kind.
The child of heaven
Endures the burden.
Oh, how tired he has become
Of earthly sorrow.
Oh, now in sleep.
Gently softened.
His torment vanishes.
Silence the treetops!
My child is sleeping.
Grimmige Kalte
Sauset hemieder,
Womit nur deck ich
Des Kindleins Glieder!
O all ihr Engel,
Die ihr gefliigelt
Wandelt im Wind,
Stillet die Wipfel!
Es schlummert mein Kind.
Quatre chants pour voix et piano
Dans rimmense tristesse
Dans 1'immense tristesse et dans le lourd silence,
Un pas se fait entendre, une forme s'avance,
Et vers une humble tombe elle vient se pencher
O femme, en ce lieu saint, que viens-tu done chercher?
Pourquoi viens-tu troubler la paix du cimetiere?
As-tu done un tresor cache sous quelque pierre,
Ou viens-tu mendier, a l'ombre des tombeaux,
Pauvre vivante, aux morts, un peu de leur repos?
Non, rien de tout cela jusqu'ici ne l'amene,
(La lune en cet instant eclairait cette scene,)
Et ce que cette femme, (helas! le coeur se fend,)
Ce que cette femme vient chercher,
e'est un frele et gracieux enfant,
Qui dort sur cette tombe, et qui, dans sa chimere,
Depuis qu'il a vu la disparaitre sa mere,
(Doux etre!) s'imagine en son naif espoir
Qu'elle n'est que cachee et qu'il va la revoir.
Et I'on dirait, le soir, en vision secrete,
Lorsque le blond enfant sent s'alourdir sa tete,
Et que sa petite ame est lasse de gemir,
Que sa mere revient chanter pour l'endormir.
Attente
Mon ame a joint ses mains etranges
A 1'horizon de mes regards;
Exaucez mes reves epars
Entre leslevres de vos anges!
En attendant sous mes yeux las,
Et sa bouche ouverte aux prieres
Eteintes entre mes paupieres
Et dont les lys n'eclosent pas;
Elle apaise au fond de mes songes,
Ses seins effeuilles sous mes cils
Et ses yeux clignent aux perils
Eveilles au fil des mensonges.
Bitter cold
Comes rushing.
With what shall I cover
The little child's limbs?
O all you angels,
You winged ones
Wandering in the wind.
Silence the treetops!
My child is sleeping.
Lili Boulanger
(texts by Bertha Galeron de Calone [no. 1],
Maurice Maeterlinck [nos. 2 and 3], and
Georges Delaquys [no. 4])
In the Immense Sadness
In the immense sadness and in the heavy silence,
A step makes itself heard, a form advances.
And towards a humble tomb she comes to lean over;
O, woman, in this holy place, what do you seek?
Why do you come to disturb the peace of the cemetery!
Do you have a treasure hidden under some stone,
Or do you come to beg, in the shadow of the tombs,
Poor living woman, from the dead, a bit of their rest?
No, none of that brings her here,
(The moon at that moment illuminated this scene,)
And what this woman, (Alas! The heart breaks,)
What this woman seeks is a frail and graceful child,
Who sleeps on this grave, and who, in his fallacy,
Since it was there that he saw his mother disappear,
(Sweet being!) imagines in his naive hope
That she is only hidden and that he will see her again.
And they say that, at night, in a secret vision,
When the blond child feels his head grow heavy,
And his little soul is weary of sighing.
His mother returns to sing him to sleep.
Expectation
My soul has joined its foreign hands
At the horizon of my glances;
Fulfill my scattered dreams
Between the lips of your angels!
Waiting under my weary eyes.
And her mouth open in prayers
Extinguished between my eyelids
And of which the lilies do not bloom;
She satisfies my deepest dreams.
Her breasts denuded under my eyelashes
And her eyes gazing half-open at the risks
Awakened by the thread of illusions.
Reflets
Sous l'eau du songe qui s'eleve,
VIon ame a peur, mon ame a peur.
Et la lune luit dans mon coeur,
Plonge dans les sources du reve!
Sous l'ennui mome des roseaux,
Seul le reflet profond des choses,
Des lys, des palmes et des roses
Pleurent encore au fond des eaux.
Les fleurs s'effeuillent une a une
Sur le reflet du firmament
Pour descendre, etemellement
Sous l'eau du songe et dans la lune.
Le Retour
Ulysse part la voile au vent.
Vers Itliaque aux ondes cheries,
Avec des bercements la vague roule et plie.
A.u large de son coeur la mer aux vastes eaux
.Du son oeil suit les blancs oiseaux
Egrene au loin des pierreries.
Ulysse part la voile au vent,
•Vers Ithaque aux ondes cheries!
Penche oeil grave et coeur battant
Sur le bee d'or de sa galere
[1 se rit, quand le flot est noir, de sa colere
Zar la-bas son cher fils pieux et fier attend
'Vpres les combats eclatants.
La victoire aux bras de son pere.
1 songe, oeil grave et coeur battant
5ur le bee d'or de sa galere.
Jlysse part la voile au vent,
Vers Ithaque aux ondes cheries.
Reflections
Under the rising water of the dream,
My soul is afraid, my soul is afraid. ’
And the moon shines in my heart.
Plunged into the fountainhead of the dream!
Under the mournful boredom of the reeds,
Only the deep reflection of things.
Of lilies, of palms, and of roses.
Still weep in the depths of the waters.
The flowers drop their petals one by one
On the reflection of the sky
In order to sink eternally
Under the water of the dream and into the moon.
The Return
Ulysses leaves with wind in his sails.
Towards the cherished waves of Ithaca,
With rocking motions the billow rolls and folds.
To the offing of his heart the sea of vast waters,
Where his eye follows the white birds.
Drops away in the distance into faraway jewels.
Ulysses leaves with wind in his sails.
Towards the cherished waves of Ithaca!
Leaned over with a solemn eye and pounding heart
On the golden bill of his galley
He laughs, when the surging tide is black, at his anger
Because over there his dear son, pious and proud, waits
After the clamoring battles.
For victory at the arm of his father.
He dreams, with a solemn eye and throbbing heart,
On the golden bill of his galley.
Ulysses leaves with wind in his sails.
Towards the cherished waves of Ithaca.
Songs to texts of Emily Dickinson
Heart! We Will Forget Him!
John Duke (from Six Songs for Soprano and Piano)
Heart, we will forget him!
You and I, tonight.
You may forget the warmth he gave,
I will forget the light.
When you have done, pray tell me,
That I may straight begin!
Haste! lest while you're lagging,
I remember him!
Good Morning, Midnight
John Duke (from Six Songs for Soprano and Piano)
Good morning, midnight,
I'm coming home.
Day got tired of me;
How could I of him?
Sunshine was a sweet place
I liked to stay.
But mom didn't want me now.
So good night, day!
I can look - can't I -
When the East is red?
The hills have a way then
That puts the heart abroad.
You are not so fair, midnight,
I chose Day.
But please take a little girl
He turned away!
The Heart Asks Pleasure First
Ernst Bacon (from Songs from Emily Dickinson)
The heart asks pleasure - first.
And then excuse from pain.
And then those little anodynes
That deaden suffering.
And then, to go to sleep;
And then, if it should be
The will of its Inquisitor,
Fhe liberty to die.
The Imperial Heart
Ernst Bacon (from Songs from Emily Dickinson)
Savior! I've no one else to tell,
and so I'll trouble Thee.
I am the one forgot Thee so;
Dost Thou remember me?
Not for myself I came so far.
That were the little load:
I brought Thee the imperial heart
I had not strength to hold.
The heart I carried in my own
Till mine Too heavy be.
Yet strangest, heavier since it went -
Is it Too large for thee?
It's All I Have to Bring Today
Ernst Bacon (from Five Poems by Emily Dickinson)
It's all I have to bring today.
This, and my heart beside,
This, and my heart, and all the fields.
And all the meadows wide.
Be sure you count, should I forget, -
Someone the sun could tell, -
This, and my heart, and all the bees
Which in the clover dwell.
The Bustle in a House
William Bolcom (from I Will Breathe a Mountain)
The bustle in a house
The morning after death
Is solemnest of industries
Enacted upon earth.
The sweeping up the heart.
And putting love away
We shall not want to use again
Until eternity.
Heart, We Will Forget Him
Aaron Copland (from Twelve Poems of Emily Dickinson )
Heart, we will forget him -
You and I, tonight.
You may forget the warmth he gave,
I will forget the light.
When you have done, pray tell me.
That I my thoughts may dim;
Haste! lest while you're lagging,
I may remember him!
PROGRAM NOTES
'resti omai from Giuuo Cesare George Frideric Handel
leorge Frideric Handel s 1724 opera Giulio Cesare in Egitto (Julius Caesar in Egypt) was an unqualified success according
3 both contemporary accounts and modem standards. Well-received at its premiere and frequently revived thereafter
t remains one of a select few Baroque operas common in the popular repertory. Handel's collaboration with the
talian-bom librettist Nicola Francesco Haym produced an opera seria combining lyricism with dramatic depth: it is
his synthesis of tunefulness and authenticity that has contributed to Giulio Cesare's enduring appeal.
'Presti omai" is the first of eight arias assigned to the title character, and is the opening aria of the opera itself. While
n current performance practice the role of Caesar is sung by a mezzo-soprano or a countertenor, the part was written
or the celebrated castrato Senesino, and showcases the unique capabilities of that archaic vocal category: superb
igility and exceptional lung capacity. In "Presti omai" the audience sees Caesar at his most self-assured. Having just
lefeated Pompey's armies in Greece, Caesar has pursued his Roman rival to Alexandria, and now relishes the proud
iccolades of the Egyptian natives. Later in the opera, Caesar's more vulnerable character traits are developed, but at
his moment, he basks triumphantly and unapologetically in his conquest.
/ergnugte Ruh from Cantata 170 Johann Sebastian Bach
. S. Bach's tenure at the Thomasschule in Leipzig produced three of his four sacred cantatas for alto solo, including
lantata 170, which was composed to celebrate the sixth Sunday after Trinity in the Lutheran liturgical year. Bach
hose the daily Epistle, Romans VI: 3-11, as the textual basis for the first movement of this work, whose lulling 12/8
nelody ingenuously typifies the "Pleasant Rest" described in the aria's title. Although the brief text is frequently
epeated, each iteration is differentiated through related yet distinct musical phrases, giving each declamation a unique
neaning through melodic contour or, more often, harmonization.
rRE ARIETTE VlNCENZO BELLINI
v « /incenzo Bellini's Tre ariette (Three Short Arias ) offers an exemplary selection of the archetypical Italian bel canto art
long. Bel canto, literally "beautiful singing," is aptly described by Matthew Boyden as "a headily emotional style that
ixalts melody as an expression of character." Throughout his brief career, Bellini strove to perfect the art of textual
leclamation in song; to this end, he scrupulously assigned rhythmic values appropriate to the natural prosody of
talian speech, and crafted sumptuous vocal lines rich with interpretive possibilities. While the Tre ariette can seem at
irst glance deceptively simple, with their memorable melodies and largely uncomplicated harmonic accompaniment,
Bellini's thorough attention to detail provides the singer with a daunting artistic challenge. Each one of the Tre ariette
s veritably a miniature dramatic scene - they foreshadow the depth of Bellini's genius as an operatic composer (Norma,
Puritani, La Sonnambula, etc.) just as Richard Wagner's Wesendonck Lieder would, several decades later, lay the
oundations of his unrivalled influence on the operatic genre.
II fervido desiderio," the first of the Tre ariette, demonstrates Bellini's insistence on textual supremacy from its very
>utset. The stately, refined melody stated by the piano, then the voice, abruptly gives way to a floribund spill o notes
* v hat reveals the speaker's eagerness to rejoin her lover. Restraint regains the upper hand in the melody once more ^
>ut a prolongation of the word "desio," combined with expressive dynamics, leaves little doubt of e spe er -
reaming. An impatient dotted rhythm undergirds the contrasting B section as the singer rhapsodizes in a quasi
mprovisationai cadenza before a brief recapitulation of the first charming melody.
the theme of longing for an absent or unattainable love is a common one in the works of Bellini, and one reitera '
he following song, "Dolente immagine di Fille mia." Here, the composer utilizes a variety of expressive e
onjure the intense pathos of loss communicated by the poet: an upper neighbor tone in the accompammen sym
he mourning lover's tears; accents on the repeated notes of the descending vocal line indicate a classic , ,
•f sobbing or sighing. In an even more subtle fashion, Bellini insinuates the lovers eternal separa on , ■
metrical juxtaposition of the melody, which strongly suggests 6/8 meter, with the accompanimen , w
notif firmly maintains 3/4 time as notated. "Dolente immagine," penned in 1821 while Bellini was s a
tudent, was the first of his songs to be published.
While Bel lin i himself did not group the Tre ariette as a cycle, the third song, "Vaga luna che inargenti," is both textu
and musically unified to the preceding pieces (exhibiting either a fortuitous or a judicious choice on the part of
publisher): the lyric "fervido desir" alludes to the title of the first song in the set; and the "sighing" motif so movin f
introduced in "Dolente immagine" returns in a less moribund context, appropriately assigned to the word "sos ' * 1
"Vaga luna" also shares a strong thematic connection to one of Bellini's best-known masterpieces, the aria "C E
diva" from his opera Norma. The opening lines of each are uncannily similar ("Vaga luna che inargenti" / "Casta di - ^
che inargenti") and both are apostrophic entreaties to the moon. The strophic elegance of "Vaga luna" serves '
useful precursor to the more florid vocal embellishments found in the later aria, and demonstrates the consununai °
goal of Bellini's art: the beauty inherent in simplicity.
Zwei Gesange fur eine Altstimme mit Bratsche und Klavier, Op. 91
Johannes Brahms
Johannes Brahms' Zwei Gesange fur eine Altstimme mit Bratsche und Pianoforte (Two Songs for Alto Voice with Viola mi j
Piano), Op. 91 were written as a gift for contralto Amelie Joachim and her husband Joseph, a violist and longtime (
friend of the composer. Brahms's predilection for the low female register is well-documented: his Alto Rhapsody On (
53, and Vier Ernste Gesange (Four Last Songs ) are staples of the Romantic repertoire for mezzo-soprano. In Op 9] :
Brahms masterfully intertwines the cantabile lines of both alto and viola, reveling in their similar timbre and exploiting i
each as an independent but collaborative soloist. 6 j
The second song of the set, "Geistliches Wiegenlied," actually predates "Gestillte Sehnsucht" by twenty years: it was
given to the couple in 1864 to celebrate the birth of their first child. Two decades later, however, Joseph Joachim
accused his wife of infidelity and endeavored to divorce her. Brahms' public defense of her innocence eventually
resulted in the irrevocable dissolution of the friendship between Brahms and Joachim. In remorse, and in the hopesol
reversing the couple's estrangement, Brahms wrote "Gestillte Sehnsucht," another viola-contralto duet in the same
vein as his earlier lullaby. Sadly, the composer's attempt was in vain: while Amelie Joachim did eventually perform
the two songs at their Viennese premiere in early 1886 and many times thereafter, she was never accompanied by hei
husband. r }
Perhaps the song's unfortunate background, however, is appropriate to the piece itself, whose ironic title translates ti
"Stilled Longing " The text of "Gestillte Sehnsucht" was written by Friedrich Ruckert (also a favorite poet of Schumann
Strauss, and Mahler), and its imagery is heavily imbued with the salient characteristics of Romantic literature: naturf
emotional turmoil, and unrequited desire. Throughout the song, the exchange of juxtaposed triple and duple rhythm
between the viola and piano further exemplifies the inner struggle expressed by the text.
fliwWl P* ece “ary “f 0 , tbat begins calmly in the key of D major, portraying a stately, tranquil fore.
den,vts d ihl* b “ dS ° nS “ u j re f Wlth the 8 ° lden ra y s of sunset. An abrupt modulation into the relative minoi ki
reh,rnVhen P f°h ceslles ;f “S and necessitates a more agitated tempo; the original tempo and tonalil
return when the poet resigns himself to the realization that only death would free him of his constant yearnings.
fosef "“ stUch f s Wiegenhed" ("Holy Cradle-Song") is based on a German Christmas carol ("Josef, lie!
piece while the vota^n^ 3 * ““A ^ ^ aS 154 j' The vlola is ta actuality the bearer of the melody throughout I
Sedte r^Wbutd to SinTde V COmte y nelodles and occasionally in major thirds with the instrument The text for tl
(1852) the comMndtam Of s Sa Y 18 ” Emanuel von Geibel ' s translation of the Spanish Liederb,
As ta t" P ° ems ^ a B t x m t Spired Sch ™ann, Wolf, and a host of other composers of the peri.
^ ” AB A form with a change in both tempo and meter for the B section. T
duplevaJ^Mrie^hthnoto • d hh 6/ ®i 0 ^ k T g rhythm 38 Ma V IuUs “ant Jesus to sleep; later, conflict!
Wealed ftaT™u Sam,e the n° f P T° a <™nipaniment prophesy the eventual suffering and wot
that in sleep all worries are forgotten. P 8 schlumm ert mem Kmd," he reminds
Quatre chants pour voix et piano
Lili Boulangef
w“*°etoXiS7oL?T S T ne 0f h ranCe ' S m0St briUiant ' “ shor «ived, stars of composition. The first woman t
75 years before she did and th l W3S mt ° 311 intense ^y musical family: her father had won the Prix de Rome som
them Aaron Conland a hi h •§ ac y ° er sister Nadia continues through the music of her famous students (ainon
pneumonia at thp a ctp f J° u . e ' w ^ ose works will be heard later on this program). However, when Lili con trade
for the rest of hpr I f ° °’a e s y stem never fully recovered, and she suffered from nearly constant illnes
tor the rest of her life, a condition which profoundly affected her composition.
th one of the Quatre chants pour votx et piano demonstrates Boulanger's extraordinary talent for establish!™ amrtir I
Sod, through both evocative harmonies and an inventive use of the piano's versatile color throughout itsE
U es . For instance, "Dans l'immense tristesse" ("In the Immense Sadness"), the first piece in the set convex
>ling of oppressive gloom that immediately draws the listener into the song's setting - a church graveyard at Xu
lulanger achieves this by constraining the piano to its lowest octaves and by using quartal harmony - chords that are
iflt on the interval of a fourth, creating an open, mcomplete sound. Adding to the chilling atmosphere is the sound
a distant bell tolling in the upper voice of the piano, sharply contrasting with the low sonorities heard earlier and
ting as a relentless pedal point to the harmonies, which grow continually more dissonant as the speaker becomes
ore agitated. Finally, to emphasize the narrative twist at the end of this ghost story, Boulanger hints once again at
e Phrygian church mode with a C-flat in the melody, bringing the vocal line back to a near-mirror image of its first
>clamation.
tthe other end of the musical color spectrum is the next of the Quatre chants-. "Attente" ("Expectation"). Boulanger
insistently selected keys for her compositions with great discernment, choosing them specifically for their auditory
feet. Whereas "Dans l'immense tristesse" centered around the key of B-flat minor (5 flats in the key signature) with
recurring C-flat, "Attente" is in the key of C-sharp Major (7 sharps in the key signature). The key of C-sharp imparts
i ethereal atmosphere perfect for expressing the text of Symbolist poet Maurice Maeterlinck - a text which is, in
self, a prolonged moment of fantasy. "Attente" in particular shares many impressionistic characteristics with the
msic of Boulanger's contemporary, Claude Debussy. (While the two composers never met, Debussy publicly expressed
is respect and fondness for Boulanger's music - and both of them had been inspired to compose an opera using
[aeterlinck's mystical, somewhat otherworldly writings: Debussy, by his fatalistic love story Pelleas etMelisande; and
Dulanger, by Maeterlinck's first drama. La Princesse Maleine. Boulanger's work, however, was left unfinished at the
me of her early death.) Boulanger further exploits the inherent dreaminess of the key by writing a steadily undulating
ghth-note pulse in the right hand of the piano, and by vacillating in stepwise chromatic motion. In the song's
enouement, the vocal line intentionally meanders around the tonic, C-sharp, but never succeeds in reaching it -
lother beguiling way in which Boulanger characterizes the delayed (or nonexistent) gratification described in the
oet's fantasy.
mother dreamy song with text by Maeterlinck, "Reflets" ("Reflections"), follows. However, as its title suggests, tire
tood of this piece is more pensive than passionate. At the outset, gentle eighth-note arpeggios ascend steadily along
ith each vocal phrase, building to a climactic outcry from the piano; yet Boulanger's masterful text painting is illustrated
est in the second half of the song, where the upper voice of the piano depicts the desolate falling of flower petals onto
le water's surface underneath which they sink into a transcendent oblivion.
-e Retour" is the last of the Quatre chants. In it, Boulanger again sets a distinct mood with another bright key (F-
larp Major: six sharps) and an unwavering barcarolle rhythm, representing Ulysses' maritime voyage to his homeland
: Ithaca. The ocean's profound depth is suggested by the use of the piano's bottom octave; even the breaking of the
aves is depicted by a charming roulade motif. As Ulysses' emotional state becomes more agitated, the music changes
taracter, becoming more tempestuous with frenetic rhythms and an ever-accelerating tempo until, at last, both the
ias and Ulysses' thoughts return to the calm rocking of before, vanishing upon a distant horizon.
JNGS TO TEXTS OF EMILY DlCKINSON DuKF, BACON, BOLCOM, COPLAND
le innovative style, inherent musicality, and distilled intensity of emotion present in the poetry of Emily Dickinson
830-1886) have inspired more than 2,000 vocal settings of her works in scarcely a century after their first publication.
ie selections presented in recital this evening might be deemed collectively "Songs from the Heart, as they were
l °sen thematically to represent a small cross-section of Dickinson's diverse characterizations of love (the word heart,
fact, can be found in each text). These pieces have also been arranged in a programmatic order, to portray an
ypical love story — or, rather, perhaps, the very typical progression of emotions experienced when the love story has
1 unhappy ending. One can imagine a woman scorned, emphatically exclaiming her independence in Duke s
mpestuous "Heart, We Will Forget Him!"; succumbing to wistful reminiscence in "Good Morning, Midnight , an
fleeting upon her rejection in "The Heart Asks Pleasure First." She faults herself for the end of the love affam citing
r inadequacy to safeguard "The Imperial Heart" and praying for divine strength; then, one last memory of blissful
getherness resurfaces ("It's All I Have to Bring Today"). Upon learning that her former lover has died, she reacts to
e news with a simplicity bordering on numbness, as she considers the pragmatic nature of the funeral procee ings
Fhe Bustle in a House"). But, at last, she discovers that the more fervently she resolves to erase him r0 ^ e *
oughts forever, the more her ungovernable heart remembers. The melancholy song Heart, We Will Forget lm,
set by Copland, thus provides a poignant conclusion to the tale and to the evening.
Upcoming Events at the School of Music
(All events are admission free and field in Margaret Comstock Concert Hall,
unless otherwise noted. Events are subject to change.)
Frirla v March 10 - 8:30 p.m.
Student Recital- The Jackson Five, brass quintet. Ryan McCaslin, Michael Swope, Kate Reyman, Ryan Doughty 3.1
Mat Murphy will perform works by Aaron Copland, Victor Ewald, Thelonious Monk, William Brade, and Randall R eym ,l
Sunday. March 12 - 3:00 P-HU
Friends of the School of Music Benefit Concert: The Steve Crews Quartet presents Jazz for a Sunday Afternoon
(The Jazz Factory, 815 W. Market St.) The event will include food by Jarfi’s Bistro, a cash bar, and free parking. Tickets;,
$75 $55 of which is a tax-deductible contribution to scholarships at the University of Louisville School of Music.
(502) 852-6907 for reservations.
Friday. March 17 - 7:00 P.m.
University Dance Academy Lecture-Demonstration. The University of Louisville Dance Theatre will preset
"Theme and Variations" during this evening performance as well. Students from Level II through Dance Theatre
perform variations from well-known ballets. Tickets may be purchased at the door or in advance. Ticket prices: $6lo
adults, $4 for children, students and Seniors. Call (502) 852-6878 for more information.
Sunday. March 19 - 7:00 p.m.
Speed Endowed Concert Series: Measha Brueggergosman, soprano. This critically-acclaimed vocalist was awarded
the Grand Prize at the 2002 Jeunesses Musicales Montreal International Competition and has been a prizewinner at th
Wigmore Hall in London, George London Foundation in New York, The Queen Sonja International Music Competitions
Oslo and the ARD Music Competition in Munich. Admission is free for Speed Art Museum Members; additional ticket!
may be purchased at the door for $10. Free pre-concert lecture at 6:15 p.m. in Malcolm Bird Recital Hall.
Monday, March 20 - 7:00 p.m .
Student Recital: Katie Fondrisi, flute and piccolo. The program will include works by Lowell Liebermann, Gan
Schocker, and Fernand le Borne as well as featuring Astor Piazzola’s H istoire du Tango.
Monday. March 20 - 7:00 p.m.
Guest Artist: Bruce Gbur, bassoon ( Malcolm Bird Recital Hall )
Monday. March 20 - 8:30 p.m,
Student Recital: Michelle Linder, clarinet. The program will feature Mozart’s “Kegelstatt’’ Trio, K. 498, in additionti
Stravinsky's Three Pieces for Clarinet Solo, Antoni Szalowski’s Sonatina, and "Malleable Rigids” by UofL student compose
Aaron Stepp.
T uesday, March 21 - 8:00 p.m.
University Jazz Combos ( Malcolm Bird Recital Hall )
Vednesdav, March 22 - 8:00 n.m
Faculty Artists: John Moore, saxophone, and Krista Wallace-Boaz, piano
hursdav, March 23 - 7:00 n.m
Student Recital: Daniel Stull, euphonium. The program will feature Leonard Gautier’s “Le Secret" (played withtl
and Ermano Picchf ^ Wi " a ' S ° inC ' Ude W ° rkS ^ G ° rd ° n ’ aC ° b ' Andr6 Wai « nein ' Rola " d Szentpali, Gabri
U of L Music Concert Line
PH: 502-852-0524
music.louisville.edu
School of
music
IMVERSITYoJ 1DUISVILLE
^ ' •
dare to be great
presents
The Jackson Five
Ryan McCaslin, trumpet
Michael Swope, trumpet
Kate Reyman, horn
Ryan Doughty, trombone
Mat Murphy, tuba
John R. Jones, coach
Student Recital
Friday Evening
March 10, 2006
8:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
Toccata
Suite
1. At the River
2. Simple Gifts
Quintet No. 3
Canzona I
'Round Midnight
PROGRAM
Randall Reyman
(b. 1952)
arr. R. Reyman
Adapted by Aaron Copland
Traditional Shaker Tune
INTERMISSION
Victor Ewald
(1860-1935)
William Brade
(1560-1630)
trans. Robert Swope
Thelonious Monk
(1917-1982)
I- 2005-2006
SPEED
ENDOWED CONCERT SERIES
Louisville Premieres
Pomerium
Sunday
September 18, 2005, 3 PM
Comstock Hall, University of Louisville
School of Music
Pavel Sporcl
Sunday
January 22, 2006, 3 PM
Comstock Hall, University of Louisville
School of Music
Measha Brueggergosman
Sunday
March 19, 2006, 7 PM
Comstock Hall, University of Louisville
School of Music
FREE PRE-CONCERT
LECTURES WILL BE
OFFERED 45 MINUTES
BEFORE EACH CONCERT
■ Pomerium
Pomerium
Sunday, September 18, 2005, 3 PM
Comstock Hall, University of Louisville School of Music
Virtuoso choral music of the Renaissance
performed by what The New York Times has called
“One of the finest early-music ensembles in the
country, and perhaps the world.” Led by Director
Alexander Blachly, this a cappella ensemble is
heralded for its luminous sound and interpretations
of Du Fay, Ockeghem, Josquin and Lassus.
Pavel Sporcl
Pavel Sporcl
Sunday, January 22, 2006, 3 PM
Comstock Hall, University of Louisville School of Music
This young violinist has received rave reviews
from around the world for his great technique and
exquisite tone. Having studied with legendary
teachers Eduard Schmieder, Dorthy DeLay, Itzhak
Perlman and Masao Kawasaki, Sporcl believes “that
classical music is not an ossified art form reserved for
a narrow elite group, but a living creative universe
accessible to everyone.”
THE HATTIE BISHOP SPEED ENDOWED CONCERT SERIES
presents
MEASHA BRUEGGERGOSMAN
Soprano
J.J. Penna
Piano
Sunday, March 19, 2006, 7:00 p.m.
Comstock Concert Hall, University of Louisville School of Music
Program
I
A Chloris
Les fontaines
L’heure exquise
II
Les Nuits d’Ete, op. 7
Villanelle
Le spectre de la rose
Sur les lagunes
Absence
Au cimetiere
L’lle Inconnue
Reynaldo Hahn
(1874-1947)
Hector Berlioz
(1803-1869)
Intermission
III
from Spanisches Liederbuch: Weltliche Lieder Hugo Wo
In dem Schatten meiner Locken (1860-1 )
Bedeckt mich mit Blumen
Sagt ihm, daft er zu mir komme
Geh, Geliebter, geh jetzt!
IV
Zueignung , op. 10, no. 1
Allerseelen, op. 10, no. 8
Cacilie, op. 27, no. 2
Richard Strauss
(1864-1949)
V
Ride on King Jesus
Sometimes I feel like a motherless child
He’s got the whole world in his hands
Traditional (arr. Hall Johnson)
Traditional
Traditional (arr. Margaret Bonds)
Ms. Brueggergosman appears by arrangement with IMG Artists, 152 West 57th Street, 5 th F
10019.
Reynaldo Hahn
A Chloris (To Chloris)
Text by Theophile deViau (1590-1626)
S’il est vrai, Chloris, que tu m’aimes,
Mais j’entends, que tu m’aimes bien,
Je ne crois point que les rois memes
Aient un bonheur pared au mien.
Que la mort serait importune
De venir changer ma fortune
A la felicite des cieux!
Tout ce qu’on dit de l’ambroisie Ne touche
point ma fantaisie
Au prix des graces de tes yeux.
Les fontaines (The Fountains)
Text by Henri de Regnier (1864-1936)
Pour que ton rire clair, jeune, tendre et leger,
S’epanouisse en fleur sonore,
II faut qu’Avril verdisse aux pousses du verger,
Plus vertes d’aurore en aurore.
II faut que Pair egal annonce le printemps,
Et que la premiere hirondelle
Rase d’un vol aigu les roseaux de l’etang
Qui mire son retour fidele!
Mais quoique l’echo rie a ton rire avec toi,
Goutte a goutte et d’une eau lointaine,
N’entends-tu pas gemir et repondre a ta voix
La plainte faible des fontaines?
If it be true, Chloris, that thou lovst me,
And I understand that thou dost love me well,
I do not believe that even kings
Could know such happiness as mine.
How unwelcome death would be,
If it came to exchange my fortune
With the joy of heaven!
All that they say of ambrosia
Does not fire my imagination
Like the favour of thine eyes.
For the sound of your laughter, so bright and dear,
To burst forth like a flower in bloom,
April is blossoming in all the meadows and fields,
Greener from on daybreak to the next.
As a gentle breeze is heralding the advent of spring,
The first swallow is now taking flights,
His wings barely touching the reeds in the pool,
Delighting in his faithful homecoming!
Though I know that your laughter repeats far and
wide,
Can you not hear the fountains sighing,
Moaning faintly as they echo the sound of your
voice
Drop by drop in some faraway place?
2
J
19 L’Heure exquise
Paul Verlaine
The time of delight
La lune blanche
The white moon
luit dans les bois.
shines in the woods.
De chaque branche
From every branch
part une voix
comes a voice
sous la ramee.
under the boughs.
0 bien aimee...
0 my beloved...
L’etang reflete,
The pond is like a deep mirror
profond miroir,
reflecting
la silhouette
the silhouette
du saule noir
of the dark willow
ou le vent pleure.
where the wind weeps.
Revons, c’est l’heure.
Let us dream, the time has come.
Un vaste et tendre
An immense, tender
apaisement
feeling of tranquillity
semble descendre
seems to come down
du firmament
from the firmament
que l’astre irise.
which the moon turns iridescent.
C’est Fheure exquise !
It is the time of delight!
Hector Berlioz
Les Nuits d’Ete (The Nights of Summer), op. 7
Texts by Theophile Gautier (1811-1872)
l.Villanelle
Quand viendra la saison nouvelle,
Quand auront disparu les froids,
Tous les deux nous irons, ma belle,
Pour cueillir le muguet aux bois.
Sous nos pieds egrenant les perles
Que Ton voit, au matin trembler,
Nous irons ecouter les merles
Siffler.
Le printemps est venu, ma belle;
C’est le mois des amants beni;
Et l’oiseau, satinant son aile,
Dit ses vers au rebord du nid.
Oh! Viens done sur ce banc de mousse,
Pour parler de nos beaux amours,
Et dis-moi de ta voix si douce:
To uj ours!
Loin, bien loin egarant nos courses,
Faisons fuir le lapin cache,
Et le daim, au miroir des sources
Admirant son grand bois penche;
Puis chez nous, tout heureux, tout aises,
En paniers, en lagant nos doigts,
Revenons, rapportant des fraises,
Des bois.
lVillanelle
When verdant spring again approaches,
When winter’s chills have disappeared,
Through the woods we shall stroll, my darling,
Tie fair primrose to cull at will.
The trembling bright pearls that are shining,
Each morning we shall brush aside;
We shall go to hear the gay thrushes
Singing.
The flowers are abloom, my darling,
O: happy lovers ’tis the month;
And the bird his soft wing englossing,
Sings carols sweet within his nest.
Come with me on the mossy bank,
Wnftrfcwa!1L t alkv^fi T irtthinrg'dib'e 1 'uiti 1 rove,
And whisper with thy voice so tender:
Always!
Far, far off let our footsteps wander,
Fright’ning the hiding hare away,
While the deer at the spring is gazing,
Admiring his reflected horns.
Then back home, with our hearts rejoicing,
And fondly our fingers entwined,
Lets return, let’s return bringing fresh wild berries
Wood-grown.
Translated to English by Samuel Byrne
4
2. La spectre de la rose
2. The ghost of the rose
Souleve ta paupiere close
Qu’effleure un songe virginal!
Je suis le spectre d’une rose
Que tu portais hier au bal.
Open your closed eyelid
Which is gently brushed by a virginal dream!
I am the ghost of the rose
That you wore last night at the ball.
Tu me pris encore emperlee
Des pleurs d’argent de 1’arrosoir,
Et, parmi la fete etoilee,
Tu me promenas tout le soil*.
You took me when I was still sprinkled with pearls
Of silvery tears from the watering-can,
And, among the sparkling festivities,
You carried me the entire night.
0 toi qui de ma mort fus cause,
Sans que tu puisses le chasser,
Toutes les nuits mon spectre rose
A ton chevet viendra danser;
0 you, who caused my death:
Without the power to chase it away,
You will be visited every night by my ghost,
Which will dance at your bedside.
Mais ne crains rien, je ne reclame
Ni messe ni De Profundis.
Ce leger parfum est mon ame,
Et j’arrive du du paradis.
But fear nothing; I demand
Neither Mass nor De Profundis;
This mild perfume is my soul,
And I’ve come from Paradise.
Mon destin fut digne d’envie,
Et pour avoir un sort si beau
Plus d’un aurait donne sa vie;
Car sur ton sein j’ai mon tombeau,
My destiny is worthy of envy;
And to have a fate so fine,
More than one would give his life’
For on your breast I have my tomb,
Et sur l’albatre ou je repose
Un poete avec un baiser
Ecrivit: “Cigit une rose,
Que tous les rois vont jalouser.”
And on the alabaster where I rest,
A poet with a kiss
Wrote: “Here lies a rose,
Of which all kings may be jealous.”
Translated to English by Samuel Byrne
5
3. Sur les lagunes
Ma belle amie est morte,
Je pleurerai toujours;
Sous la tombe elle emporte
Mon ame et mes amours.
Dans le ciel, sans m’attendre,
Elle s’en retourna;
L’ange qui l’emmena
Ne voulut pas me prendre.
Que mon sort es amer!
Ah! sans amour s’en aller sur la mer!
La blanche creature
Est couchee au cercueil;
Comme dans la nature
Tout me parait en deuil!
La colombe oubliee
Pleure et songe a l’absent;
Mon ame pleure et sent
Qu’elle est depareillee.
Que mon sort est amer!
Ah! sans amour s’en aller sur la mer!
Sur moi la nuit immense
S’etend comme un linceul,
Je chante ma romance
Que le ciel entend seul.
Ah! comme elle etait belle,
Et comme je l’aimais!
Je n’aimerai jamais
Une femme autant qu’elle
Que mon sort est amer!
Ah! sans amour s’en aller sur la mer!
S’en aller sur la mer!
3. On the lagoons
My beautiful love is dead,
I shall weep always;
Into the tomb, she has taken
My soul and my love.
Without waiting for me,
She has returned to heaven.
The angel which took her there
Did not want to take me.
How bitter is my fate!
Ah! without love, to go to sea!
The white creature
Is lying in the coffin;
How all in Nature
Seems bereaved to me!
The forgotten dove
Weeps and dreams of the one who is absent;
My soul cries and feels
That it has been abandoned.
How bitter is my fate,
Ah! without love, to go to sea!
Above me the immense night
Spreads itself like a shroud;
I sing my romanza
That heaven alone hears.
Ah! how beautiful she was,
And how I loved her!
I will never love
Another woman as much as I loved her;
How bitter is my fate!
ah! without love, to go to sea!
Translated to English by Emily Ezust
6
4. Absence
Reviens, reviens, ma bien-aimee,
Comme une fleur loin du soleil,
La fleur de ma vie est fermee
Loin de ton sourire vermeil!
Entre nos coeurs qu’elle distance!
Tant d’espace entre nos baisers!
0 sort amer! 6 dure absence!
0 grands desirs inapaises.
D’ici la-bas que de campagnes,
Que de villes et de hameaux,
Que de vallons et de montagnes,
A lasser le pied des chevaux!
5. Au cimetiere
Connaissez-vous la blanche tombe,
Ou flotte avec un son plaintif
L’ombre d’un if?
Sur l’if une pale colombe,
Triste et seule au soleil couchant,
Chante son chant:
Un air maladivement tendre,
A la fois charmant et fatal,
Qui vous fait mal
Et qu’on voudrait toujours entendre;
Un air comme en soupire aux cieux
L’ange amoureux.
On dirait que Fame eveillee
Pleure sous terre a l’unisson
De la chanson,
Et du malheur d’etre oubliee
Se plaint dans un roucoulement
Bien doucement.
Sur les ailes de la musique
On sent lentement revenir
Un souvenir.
Une ombre, une forme angelique,
Passe dans un rayon tremblant,
En voile blanc.
4. Absence
Come back, return, my well-beloved!
Like a flower far from the sun,
The flower of my life is closed
Far from your smiling ruby lips!
Between our hearts, what distance!
What space between our kisses!
O bitter fate! o harsh absence!
O great desires unappeased!
From here to there, how much land there is!
How very many villages and hamlets,
How very many valleys and mountains,
To weary the hoofs of the horses!
Translated to English by Emily Ezust
5. At the cemetery
Do you know the white tomb
Where floats with plaintive sound,
The shadow of a yew?
On the yew a pale dove,
Sad and alone under the setting sun,
Sings its song:
An air sickly tender,
At the same time charming and ominous,
Which makes you feel agony
Yet which you wish to hear always;
An air like a sigh from the heavens
of a love-lorn angel.
One would say that an awakened soul
Is weeping under the earth in unison
With this song,
And from the misfortune of being forgotten,
Moans its sorrow in a cooing
Quite soft.
On the wings of the music
One feels the slow return
Of a memory.
A shadow, a form angelic,
Passes in a trembling ray of light,
In a white veil.
7
5. Au cimetiere (continued)
Les belles de nuit demicloses The beautiful flowers of the night, half-closed
Jettent leur parfum faible et doux Send their perfume, faint and sweet
Autour de vous, Around you,
Et le fantome aux molles poses And the phantom of soft form
Murmure en vous tendant les bras: Murmurs, reaching to you her arms:
Tu reviendras! You will return!
Oh! jamais plus pres de la tombe,
Je n’irai, quand descend le soir
Au manteau noir,
Ecouter la pale colombe
Chanter sur la pointe de l’if
Son chant plaintif.
6. L’ile Inconnue
Dites, la jeune belle,
Ou voulez-vous aller?
La voile enfle son aile,
La brise va souffler.
L’aviron est d’ivoire,
Le pavilion de moire,
Le gouvernail d’or fin;
J’ai pour lest une orange,
Pour voile une aile d’ange,
Pour mousse un seraphin.
Dites, la jeune belle,
Ou voulez-vous aller?
La voile enfle son aile,
La brise va souffler.
Est-ce dans la Baltique?
Dans la mer Pacifique?
Dans Pile de Java?
Ou bien est-ce en Norvege,
Cueillir la fleur de neige,
Ou la fleur d’Angsoka?
Dites, la jeune belle,
Ou voulez-vous aller?
Menez-moi, dit la belle,
A la rive fidele
Ou Ton aime toujours!
Cette rive, ma chere,
On ne la connait guere
Au pays des amours.
Oh! never again near the tomb
Shall I go, when night lets fall
Its black mantle,
To hear the pale dove
Sing on the limb of the yew
Its plaintive song!
Translated to English by Emily Ezust
6. The Unknown Isle
Say, young beauty,
Where do you wish to go?
The sail swells itself,
The breeze will blow.
The oar is made of ivory,
The flag is of silk,
The helm is of fine gold;
I have for ballast an orange,
For a sail the wing of an angel,
For foam a seraph.
Say, young beauty,
Where do you wish to go?
The sail swells itself,
The breeze will blow.
Is it to the Baltic?
To the Pacific Ocean?
To the island of Java?
Or is it well to Norway,
To gather the flower of the snow,
Or the flower of Angsoka?
Say, young beauty,
Where do you wish to go?
Lead me, says the beauty,
To the faithful shore
Where one loves always!
This shore, my darling,
We hardly know at all
In the land of Love.
Tianslated to English by Samuel Byrne
8
Hugo Wolf
In dem Schatten meiner Locken In the shadow of my tresses
(In the shadow of my tresses)
In dem Schatten meiner Locken
Schlief mir mein Geliebter ein.
Week ich ihn nun auf? - Ach nein!
Sorglich strahlt ich meine krausen
Locken taglich in der Friihe,
Doch umsonst ist meine Miihe,
weil dieWinde sie zerzausen.
Lockenschatten, Windessausen
Schlaferten den Liebsten ein.
Week ich ihn nun auf? - Ach nein!
Horen muB ich, wie ihn grame,
DaB er schmachtet schon so lange,
DaB ihm Leben [geb’ und nehme]l
Diese meine braune Wange,
Und er nennt mich eine Schlange,
Und doch schlief er bei mir ein.
Week ich ihn nun auf? - Ach nein!
Bedeckt mich mit Blumen
from Spanisches Liederbuch: Weltliche Lieder,
no. 26
Text by Emanuel von Geibel
Bedeckt mich mit Blumen, ich sterbe vor Liebe.
DaB die Luft mit leisemWehen
nicht den siiBen Duft mir entfiihre, bedeckt mich!
1st ja alles doch dasselbe,
Liebesodem oder Diifte von Blumen.
Von Jasmin und weiBen Lilien
sollt ihr hier mein Grab bereiten, ich sterbe.
Und befragt ihr mich: Woran?
sag ich: Unter siiBen Qualen vor Liebe.
Cover me with flowers, I die for love.
In the shadow of my tresses
My beloved has fallen asleep.
Shall I awaken him now? Ah, no!
Carefully I comb my ruffled
Locks, early every day;
Yet for nothing is my trouble,
For the wind makes them dishevelled yet again.
The shadows of my tresses, the whispering of the
wind,
Have lulled my darling to sleep.
Shall I awaken him now? Ah, no!
I must listen to him complain
That he pines for me so long,
That life is given and taken away from him
By this, my brown cheek,
And he calls me a snake;
Yet he fell asleep by me.
Shall I awaken him now? Ah, no!
Cover me with flowers
That the breeze with its gentle wafting
not carry the sweet smell away from me, cover
me!
Yet truly it is all the same,
breath of love, or scent of flowers.
With jasmine and white lilies
shall you here prepare my grave, I die.
And if you ask me, Why?
I say: From sweet torments of love.
Translation from German to English
copyright © by Eric Sams
9
Sagt ihm, daB er zu mir komme
(Tell him to come to me)
Text by Paul Heyse
Sagt ihm, daB er zu mir komme,
denn je mehr sie mich drum schelten,
ach je mehr wachst meine Glut!
O zumWanken bringt die Libe nichts auf Erden;
durch ihr Zanken wird sie nur gedoppelt werden.
Sie gefahrden mag nicht ihrer Neider Wut;
denn je mehr sie mich drum schelten,
ach, je mehr wachst meine Glut!
Eingeschlossen haben sie mich langeTage;
unverdrossen mich gestraft mit schlimmer Plage;
Doch ich trage jede Pein mit Liebesmut,
denn je mehr sie mich drum schelten,
ach, je mehr wachst meine Glut!
Meine Peiniger sagen oft, ich soil dich lassen,
doch nur einiger woll’n wir uns ins Herze fassen.
MuB ich drum erblassen,
Tod um Liebe lieblich tut,
und je mehr sie mich drum schelten,
ach, je mehr wachst meine Glut!
Geh, Geliebter, geh jetz!
(Go, beloved, go now!)
Geh, Geliebter, geh jetzt!
Sieh, der Morgen dammert.
Leute gehn schon durch die Gasse,
Und der Markt wird so belebt,
DaB der Morgen wohl, der blasse,
Schon die weiBen Fliigel hebt.
Und vor unsern Nachbarn bin ich
Bange, daB duAnstoB gibst;
Denn sie wissen nicht, wie innig
7 o
Ich dich lieb und du mich liebst.
Drum, Geliebter, geh jetzt,
Sieh, der Morgen dammert.
Tell him to come to me
Tell him to come to me,
for the more they chide me about it,
the more my passion grows!
O, nothing on earth can make love waver;
their scolding will only make it double.
It cannot be endangered by the fury of the envious'
for the more they chide me about it,
the more my passion grows!
They have locked me in for days on end,
relentlessly punished me with terrible torments.
But I bear all my suffering with love’s courage,
and the more they chide me,
the more my passion grows!
My tormentors often say I should leave you,
but that only binds our hearts closer together.
And if I must perish for it
death for love is sweet,
and the more they chide me about it
the more my passion grows!
Go, beloved, go now!
Go, beloved, go now!
See, the day is dawning.
People are in the street,
And the market’s so astir,
That day, pale day,
Must be lifting its white wings.
And I’m afraid of our neighbours
— that you’ll scandalize them
They not knowing how deeply
I love you, and you love me.
So, beloved, go now!
See the day is dawning.
10
Geh, Geliebter, geh jetz! (continued)
Wenn die Sonn am Himmel scheinend
Scheucht vom Feld die Perlen klar,
Muft auch ich die Perle weinend
Lassen, die mein Reichtum war.
Was als Tag den andern funkelt,
Meinen Augen diinkt es Nacht,
Da dieTrennung bang mir dunkelt,
Wenn das Morgenrot erwacht.
Geh, Geliebter, geh jetzt!
Sieh, der Morgen dammert.
Willst du feste Wurzel fassen,
Liebster, hier an meiner Brust,
Ohne daft der Nieder Hassen
Stiirmisch uns verstort die Lust;
Willst du, daB zu tausend Malen
Ich wie heut dich sehen mag,
Und dir stets auf Sicht bezahlen
Unsrer Liebe Schuldbetrag:
Geh, Geliebter, geh jetzt!
Sieh, der Morgen dammert.
Fliehe denn aus meinen Armen!
Denn versaumest du die Zeit,
Mochten fur ein kurz Erwarmen
Wir ertauschen langes Leid.
1st in Fegefeuersqualen
Doch ein Tag schon auszustehn,
Wenn die Floffnung fern in Strahlen
LaBt des Himmels Glorie sehn.
Drum, Geliebter, geh jetzt!
Sieh, der Morgen dammert.
When the sun, shining in the sky,
Clears the field of bright pearls,
I, too, weeping, must lose the pearl
That was my wealth.
What to others shines as day,
My eyes see as night,
As, for me, the dread of dark of parting falls
When the dawn awakes.
Go, beloved, go now!
See, the day is dawning.
If you wish firmly to be rooted,
Beloved, here on my breast,
Without envious hatred
Storming in upon our joy;
If you want me a thousand times
To see you as today,
And always, on sight, to pay you
Our debt of love:
go, beloved, go now!
See, the day is dawning.
Flee, then, from my arms.
For if you delay,
We may, for one brief warm embrace,
Exchange the long sorrow.
One day in purgatoiy
Can, after all, be borne,
When hope, radiant from afar,
Reveals heaven’s glory.
So, beloved, go now!
See, the day is dawning.
11
Richard Strauss
Op. 10, no. 1
Text by Hermann von Gilm zu Rosenegg
Zueignung (Dedication)
Ja, du weiBt es, teure Seele,
daB ich fern von dir mich quale,
Liebe macht die Herzen krank,
habe Dank.
Einst hielt ich, der Freiheit Zecher,
hoch den Amethysten-Becher,
und du segnetest den Trank,
habe Dank.
Und beschworst darin die Bosen,
bis ich, was ich nie gewesen,
heilig, heilig an’s Herz dir sank,
habe Dank!
Op. 10, no. 8
Allerseelen (All Souls)
Stell auf den Tisch die duftenden Reseden, Die
letzten roten Astern trag herbei,
Und laB uns wieder von der Liebe reden,
Wie einst im Mai.
Gib mir die Hand, daB ich sie heimlich driicke
Und wenn man’s sieht, mir ist es einerlei,
Gib mir nur einen deiner siiBen Blicke,
Wie einst im Mai.
Es bltiht und duftet heut auf jedem Grabe,
Ein Tag im Jahr ist ja den Toten frei,
Komm an mein Herz, daB ich dich wieder habe,
Wie einst im Mai.
Dedication
Yes, dear soul, you know,
away from you I’m in torment,
love makes hearts sick,
have thanks.
Once I, drinker of freedom, held
high the amethyst goblet
and you blessed that draught,
have thanks.
And you drove out from it the evil ones,
till I, as never before,
holy, sank holy upon your heart,
have thanks!
All Souls
Place on the table the fragrant mignonettes,
Bring inside the last red asters,
and let us speak again of love,
as once we did in May.
Give me your hand, so that I can press it secretly;
and if someone sees us, it’s all the same to me. Just
give me your sweet gaze,
as once you did in May.
Flowers adorn today each grave, sending off their
fragrances;
one day in the year are the dead free.
Come close to my heart, so that I can have you again,
as once I did in May.
12
Vier Lieder, op. 27, no. 2
Cacilie (Cecily)
Text: Hart
Wenn du es wiifitest,
Was traumen heifit von brennenden
Kiissen,
VonWandern und Ruhen mit der Geliebten,
Aug in Auge,
Und kosend und plaudernd,
Wenn du es wiifitest,
Du neigtest dein Herz!
Wenn du es wiifitest,
Was bangen heifit in einsamen Nachten,
Umschauert vom Sturm, da neimand
trostet
Milden Mundes die kampfmiide Seele,
Wenn du es wiifitest,
Du kamest zu mir.
Wenn du es wiifitest,
Was leben heifit, umhaucht von der Gottheit
Weltschaffendem Atem,
Zu schweben empor, lichtgetragen,
Zu seligen Hohn,
Wenn du es wiifitest,
Du lebtest mit mir!
Cecily
If you knew
what it is to dream of burning
kisses,
of wandering, resting with one’s love,
gazing at each other,
and caressing and talking,
if you knew,
you would incline your heart!
If you knew
what fear is on lonely nights,
in the awesome storm, when no one
comforts
with soft voice the struggle-weary soul,
if you knew,
you would come to me.
If you knew
what it is to live enveloped in God’s
world-creating breath,
to float upwards, borne on light,
to blissful heights,
if you knew,
you would live with me!
13
Program Notes
by William Plummer
Reynaldo Hahn (1874-1947)
Venezuelan by birth, Reynaldo Hahn made an impressive career for himself in Paris, where he became a
director and composer of opera as well as a music critic. His songs, as well as the poems he chose to set to
music, are characterized by restraint and lyricism. Hahn likely crafted many of the lovely melodies for his own
voice. Reynaldo Hahn studied and edited the works of Rameau, and his knowledge and familiarity with
Baroque style is apparent in the song “A Chloris.”The melody of the accompaniment, with its Baroque orna¬
ments, is spun over a recurring bass motive in a charming setting of the poet’s seventeenth-centuiy verse In the
two last songs, “Les fontaines” and “L’heure exquise,” Hahn’s intimate treatment of the text and carefully
chosen ostinato figures in the accompaniment are apparent. The hushed triplet figures in “Les fontaines” paint
the “sighing” fountains in the poem, while providing an undeipinning for the lyrical melody above. Similarly
the accompaniment in “L’heure exquise,” with its slowly rising and falling aipeggios, seems to suspend musical
time. The text of the song’s expressive melody describes with hushed objectivity one magical, tranquil moment
Hector Berlioz (1803-1869)
Les Nuits D’Ete is Hector Berlioz’s most important vocal work. The song cycle, first published in 1841 contains
six symphomcally-conceived works for voice and piano (which were in fact later orchestrated by Berlioz).These
songs resemble miniature tone poems, each conveying an individual mood unique among the pieces in the
sTvIp'th!. * U8h S n NmtS D ’f 6 15 not entirely c ohesive, the cycle is well balanced in emotional mood and
Gautier h ° f ° Ve 0ngm8 W6aVe 3 consistent thread through each of the poems of Theophile
*oXfthe'I^ e l 0f ,he epi ‘ 0m i“ S ‘ he exhilaration spring and new love. The rushing staccato
re,Ue ? % mClUde qU ° tati0nS ° £ the V0Cal line as the y drive the second
d" m C '° SI! ' The SeC °" d Pie “ in ,he set - “ Le SP^re & la Rose.” contains
The 3 H y ‘” 8 r ° Se r m a ‘ 3 ba “ by a beautiful Sid. its ghost haunting her dreams,
piece, where the rose’s eDitanh ;,. Un ei t C j re L 6 ,0ITlantK - nature of the poem’s theme until the final bars of the
the flower. The third song “Sur lesTap & ” are a ' l|rlal l° w > descending vocal line vividly paints the wilting of
epitomme the C ° mpaCt ’ Shap “ ° f ,he ° P “'" B P hrases
music builds to a thunderous nprum off- 6 me * Sln § my romanza that heaven alone hears,” the
loneliness is the predominant mood. In the^fTT ^ ^ CneS ° Ut in grief ‘ In the fourt h song, “L’ Absence,”
for the absent lover. This erv appearing in h P 13Se ’ which returns throughout the piece, the voice calls out
Cimetiere” is, like the third song a lament ° . accompaniment and voice, is answered only by silence. “Au
the relentless pulse in the accompaniment imh^ P tn Ce COnveys an lcy sense of detachment.The inevitability of
inconnue,” has an outgoing mood slTlar ^ ^ P ‘ eCe "" th " e ™“ a ness.The final song in Op.7. “We
beautiful girl an invitation to a romantic vovaae in T” 8 7* cyc,e ' The >’ oun S man in this poem offers a
lively effect of a sea chanty. 8 Un nown lands. The sextuple meter of the song creates the
Hugo Wolf (1860-1903)
Hugo Wolf’s reputation as a composer rests solelv with h- i
Wolf’s Spanisches Liederbuch are all musical sett' r ^ ar £ e contlddudon to German lieder.The songs of
century Spanish and Portuguese poems The text m n-h erman translations of sixteenth- and seventeenth-
tone. In the song “In dem Schatten meiner Lockp ° 6 S6CLdar son S s in the collection are quite romantic in
is peacefully sleeping under the shadow of her t H ^ ^° raan ca nnot decide whether to awaken her lover, who
which are tumultuous (“he calls me a snake ”) p SS6S ' , e recoun ts elements of their relationship, some of
ven ese discordant events appear to have been forgiven
14
during the lover’s peaceful slumber. The piano accompaniment’s guitar-like rhythmic figure pauses each time
the maiden asks “Shall I awaken him now? Ah, no!” “Bedeckt mich mit Blumen” contains images of flowers
and death.The soft piano accompaniment tenderly conveys poignant images in the text—the “gentle wafting
breeze,” the “breath of love,” and perhaps even the soft petals of the flowers themselves. In the final line of
text, a descending chromatic twist on the repetition of the word Liebe underscores the “sweet torment of love”
which the lover feels. The age-old pairing of love with death is woven throughout the song “Sagt ihm dass er zu
mir komme” as well (“If I must fade and die, then to die for love is sweet.”).The song “Geh Geliebter, get
jetzt!” is the last song in the Spanisches Liederbuch. Like the alba, or “dawn” song of the troubadours, two
lovers awake at dawn and realize they must part. In this case the young girl pleads with her lover to leave, lest
they be scandalized by her neighbors.The song’s opening immediately conveys this urgency through tense
rhythms and unresolved harmonies.The passionate, operatic melody—underscored at times by a torrent of
descending octaves in the accompaniment—conveys the drama inherent in the lover’s plea.
Richard Strauss (1864-1949)
Though well known for his operas, Richard Strauss was also a prolific composer of song. “Zueignung” of Opus
10 belongs to Strauss’s first collection of songs, composed at the age of eighteen.The piece consists of three
stanzas of devotion to a beloved, each closed by the phrase “I have thanks.” The song arrives at a dramatic
climax in the third strophe. Like many of Strauss’s songs, the piano accompaniment is thick and orchestral in
nature. The song “Allerseelen” is a reminiscence of past love during All Soul’s Day. All Soul’s Day, which falls on
November 2, is a day of remembrance of the dead. The parallel imagery in the poem is striking; the poet on
that day rekindles memories of a love affair that has also died. In pagan times, families prepared a table for the
departed soul’s return during the Festival of the Dead, a candle in the window guiding the lost soul home. A
similar sense of preparation saturates the opening lines of the text—mignonettes and perhaps asters too are
placed on the table. “Cacilie,” like “Zueignung,” is more extroverted and passionate with its thick texture in the
accompaniment. Strauss’s Opus 27 was written in celebration of his marriage, and the passion and vibrancy of
the long vocal lines in “Cacilie” are a testament to the inspiration he found in his wife Pauline.The song
represents the height of emotionalism and grandeur with its sweeping vocal phrases and rushing arpeggios in
the piano.
15
Measha Brueggergosman
Soprano
Noted by the San Francisco Chronicle as, “a singer
of rare gifts and artistic intensity” and by the Wash¬
ington Post for singing with “an all-encompassing
warmth and joy, melding honed artistry with youthful
enthusiasm,” Canadian soprano Measha
Brueggergosman has emerged as one of the most
magnificent artists and vibrant personalities of the
day. She is critically acclaimed by the international
press as much for her innate musicianship and radiant
voice as for a sovereign stage presence far beyond her
years.
A dynamic scope of repertoire coupled with a
profound depth of artistry brings Measha
Brueggergosman together with many of the finest
international orchestras and most esteemed conduc¬
tors of our day. During the 2005-06 season symphonic
debuts include performances of Beethoven’s Sym¬
phony No. 9 with Jahja Ling and the San Diego
Symphony and with Rafael Friihbeck de Burgos and
the Detroit Symphony Orchestra, Mozart’s Requiem
with Itzhak Perlman and the Seattle Symphony, and
Mahler’s Symphony No. 2 with Bramwell Tovey and
the Orchestre Philharmonique du Luxembourg.
Operatic debuts include performances of Madame
Lidoine in Dialogues des Carmelites at the Vancouver
Opera and Juno in Joseph Martin Krauss’ Aeneas in
Kartago, conducted by Lothar Zagrosek, at the
Staatstheater Stuttgart in a new production by Peter
Konwitschny.
Deeply committed to the art of recital where her
programs are likely to include less frequently-heard
songs by Bolcom, Chausson, andTurina alongside
more familiar works by Mahler, Ravel, and Strauss,
Ms. Brueggergosman’s busy schedule includes solo
recitals at Toronto’s Roy Thomson Hall, the University
of Chicago, Louisville’s Hattie Bishop Speed Endowed
Series, at the World Expo 2005 in Aichi, Japan under
the auspices of the Government of Canada, and in
Fredericton, New Brunswick among others.
During the 2004-05 season she debuted with the
Deutsches Symphonie-Orchester Berlin in Strauss’
Vier Letzte Lieder, with the Bonn Philharmonic in
Britten’s War Requiem, and returned to the National
Arts Centre Orchestra with Patrick Summers and to
the Toronto Symphony Orchestra with Jiri Behlolavek.
A North American recital tour brought her to the
Kennedy Center, Carnegie Hall, Spivey Hall in
Atlanta, University Musical Society, and to concert
series in Toronto, Montreal, and Winnipeg. European
recital appearances included a joint recital with
pianist Jean-YvesThibaudet at the Verbier Festival,
and debuts at the Bergen Festival and the Tuscan Sun
Festival. Other highlights of the season included
performances at the Canada Day celebrations from
Parliament Hill in Ottawa, appearances on the Juno
Awards ceremony broadcast live throughout Canada,
a highly acclaimed Christmas program from Ottawa’s
Christ Church Cathedral, and a series of recitals-from
opera to jazz favorites-at the Stratford Summer Music
Festival.
Highlights of the recent past have included Liu in
Turandot and Sister Rose in Dead Man Walking with
Cincinnati Opera, Janac v ek’s Glagolitic Mass with the
Stuttgart Philharmonic and Sebastian Weigle as well
as with the San Francisco Symphony and Michael
Tilson Thomas, the Verdi Requiem with Sir Andrew
Davis and the Toronto Symphony Orchestra, William
Bolcom’s Songs of Innocence and Experience with
Leonard Slatkin and the orchestra and chorus of the
University of Michigan (released commercially by the
Naxos label), Beethoven’s Symphony No.9 with Hans
Graf and the Boston Symphony Orchestra at
Tanglewood, Krzysztof Penderecki’s Credo with the
Toronto Symphony Orchestra conducted by the
composer, and a solo recital at the Edinburgh Interna¬
tional Festival. Ms. Brueggergosman has participated
in the gala re-openings of Roy Thomson Hall and of
the University of Michigan’s Hill Auditorium and has
given a Royal Command Performance for Queen
Elizabeth II. She also has been honored to sing for the
Prince of Wales, President Tarj a Halonen of Finland,
Prime Minister Paul Martin and Her Excellency the
Right Honourable Adrienne Clarkson of Canada, and
for Nelson Mandela.
So Much to Tell, Ms. Brueggergosman’s first solo
commercial recording on the CBC Records label, with
the Manitoba Chamber Orchestra and conductor Roy
Goodman, features music by Barber, Copland and
Gershwin. Her second release for CBC Records,
available in autumn 2005, presents a program of
Berlioz’s Lesnuits d'ete and Massenet opera arias with
YoavTalmi and the Orchestre Symphonique de
Quebec.
16
Measha Brueggergosman has been the subject of a
full-length feature documentary, Spirit in her Voice,
aired by the CBC network and has starred in a short
film entitled Go Diva!, which was produced by the
BRAVO network. An original streaming video of
Measha, launching the Emerging Artist Showcase
Series, was recently released on ArtsPass Live!
(www.artspass.com) and comprehensive performance
and career information is found at www.measha.com.
Measha Brueggergosman was awarded the Grand
Prize at the 2002 Jeunesses Musicales Montreal
International Competition and has been a prizewinner
at The Dutch International Vocal Competition’s-
Hertogenbosch, theWigmore Hall in London, George
London Foundation in New York, The Queen Sonja
International Music Competition in Oslo, and the
ARD Music Competition in Munich. She also is a
recipient of the prestigious Canada Council and
Chalmers Performing Arts She studied at the Univer¬
sity of Toronto with Mary Morrison and pursued
postgraduate studies in Germany with Edith Wiens.
She also has worked with such distinguished musi¬
cians as Christoph Eschenbach, Brigitte Fassbaender,
Margo Garrett, Hakan Hagegard, Jessye Norman,
Rudolf Piernay, and Thomas Quasthoff.
Recent seasons included performances at the
Edvard Grieg Museum in Norway, at the Edinburgh
Festival, at New York’s Weill Recital Hall, at the
Kennedy Center in Washington, D.C., as well as
concerts in Santa Fe, Atlanta,Toronto, and Montreal
with a variety of singers, including sopranos Measha
Brueggergosman and Harolyn Blackwell and tenor
William Burden. He will perform with Andreas Scholl
in New York and San Francisco in the spring of 2006.
Mr. Penna has performed and held fellowships at
prestigious festivals such asTanglewood Music Center,
Chautauqua Institution, Banff Center for the Arts,
Norfolk Chamber Music Festival, the Music Academy
of the West, and San Francisco Opera Center’s Merola
Program, where he received the Otto Guth Award.
Mr. Penna devotes much of his time to the teaching
of art song literature, and is currently on the faculties
of the Yale University School of Music and
Westminster Choir College. He has given master
classes at the University of Michigan, Oberlin Conser¬
vatory, University of Vancouver, University of Rich¬
mond, and in the Spring of 2004 presented at the
MTNA National Conference in Kansas City. He
directed the vocal program at the Bowdoin Festival for
three summers, and has been on the staff of the
Steans Institute of the Ravinia Festival for five sum¬
mers.
J.J. Penna
Piano
Pianist J.J. Penna
has performed in
recital with such
eminent singers as
Kathleen Battle,
Harolyn Blackwell,
Amy Burton, David
Daniels, Denyce
Graves, Kevin
McMillan, Florence
Quivar, Sharon
Sweet, Christopher
Trakas, Indra Thomas
andYing Huang. The many venues in which Mr. Penna
has been heard include the Kennedy Center in
Washington, D.C., Weill Hall and Merkin Recital Hall
in New York City, the Palacio de Bellas Artes in
Mexico City, Seizi Ozawa Hall, the Herbst Theatre,
Wigmore Hall in London, as well as on concert tours
throughout the United States, Europe, Asia, the Far
East, South America, and the former Soviet Union.
Devoted to the performance and study of new music,
he has premiered song cycles by William Bolcom,
Ricky Ian Gordon, Richard Hundley and Lowell
Liebermann.
17
IM S EVKNT1
Transformation
NTJJ R Y DUTCH ART
January 10-March 26, 2006
and Aelbert Cuyp.This exhibition of 85 sevemt/^fj] 5 V3n ^ u * sdae t Ludolf Backhuysen, Rembrandt
the Dutch fascination with thTeffe^Jv. pamtingS ’ drawin S s and prints explores
wun me effects of time or circumstance.
This exhibition was organized by the France* I oh™ i «
with support from thelLmuelH^S^oMdatiom” NewY ° rk
A A The Speed
™ Art Museum Jacob van Ruisdael (Dutch, 1628/29-1682)
tRm \ co a Landscape with Cottages and a Blasted Tree, 1653
ouzj 634-2700 www.speedmuseum.org oil on “ nvas
Museum purchase, 1998.3
The Speed Art Museum
School of
music
INIVERSITYof IDUISVILLE
dare to be great
presents
Katie Fondrisi , flute
student of Kathleen Karr
with
Deborah Dierks, piano
and
Katie Waters, piccolo
Kevin Shank, guitar
Student Recital
Monday Evening
March 20, 2006
7:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event offire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonata
Lento con rubato
Presto energico
Katie Fondrisi, flute
Deborah Dierks, piano
Stripes and Stars
Katie Fondrisi, piccolo
Katie Waters, piccolo
PAUSE
Histoire du Tango
Bordel 1900
Cafe 1930
Nightclub 1960
Concert d'Aujourd’hui
Katie Fondrisi, flute
Kevin Shank, guitar
Fantasie Brillante "Carmen"
Katie Fondrisi, flute
Deborah Dierks/ piano
Lowell Liebermann
(b. 1961)
Gary Schocker
(b. 1959)
AstorPiazzola
(1921-1992)
Fernand le Borne
(1862-1929)
BIOGRAPHY
Katie Fondrisi is a first-year graduate student at the
University of Louisville, pursuing a Master of Music
degree in flute performance. She obtained a Bach¬
elor of Arts degree in Music Performance from
Indiana University Southeast with a minor in Span¬
ish. She has been playing the flute and piccolo for
thirteen years and currently studies with the princi¬
pal flutist of the Louisville Orchestra, Kathleen Karr.
As Miss Berea Area, Katie will be performing in the
Miss Kentucky Pageant this summer and regularly
plays for churches, musical theater groups, and
other special events. She has been teaching flute
privately for four years and substitute teaches in the
New Albany/Floyd County School System. Katie is
also the Director of Publicity for Delta Omicron
Professional Music Fraternity at the University of
Louisville as well as a member of the College Music
Society, Kentucky Flute Society, and the CMENC.
Katie plans to perform professionally in a musical
theater orchestra and to teach in a school system or
at a university.
School of
music
IMVERSITYof IOUISVILLE
***■ 1 1 —
dare to be great
presents
Michelle Linder,
clarinet
student of Dallas Tidwell
with
David George, piano
and
Monica Clarke, viola
Student Recital
Monday Evening
March 20, 2006
8:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thankyou.
PROGRAM
Sonatina
Allegro non troppo
Larghetto
Finale, Allegro
Malleable Rigids
Three Pieces for Clarinet Solo
PAUSE
Trio in E-flat ("Kegelstatt"), K. 498
Andante
Menuetto
Rondeaux, Allegretto
Monica Clarke, viola
David George, piano
Antoni Szalowski
(1907-1973)
Aaron Stepp
(b. 1985)
Igor Stravinsky
(1882-1971)
W. A. Mozart
(1756-1791)
j' a K *music
LNIVERSIlYof 1DU1SVILLE
-■*“ --
dare to be great
presents
Marlene Ballena,
violoncello
Student of Paul York
with
David Ballena, piano
Senior Recital
This recital is given in partial fulfillment of
the requirements for the Bachelor of Music degree.
Wednesday Evening
March 21, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Welcome to the University of Lousiville School of Music.
We hope you enjoy the concert.
Smoking is not permitted in the School of Musicbuilding.
In the unlikely event of fire or other emergency, please walk to the nearest exit.
The use of recording devices andflashphotography is strictly prohibited.
Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Suite in C Minor, S. 1011 for cello solo J.S. Bach
Prelude (1685-1750)
Allemande
Courante
Sarabande
Gavotte I-1I
Gigue
Polonaise Brilliante,
Op. 3 for cello and piano
Frederic Chopin
(1810-1849)
INTERMISSION
Gaea's Lament
Mark Scearce
(b. 1954)
Sonata for in A Major, Ludwig van Beethoven
Op. 69 for cello and piano (1770-1827)
Allegro, ma non tanto
Scherzo
Adagio cantabile - Allegro vivace
PROGRAM NOTES
Suite in C Minor, S. 1011 J.S. Bach
J .S. Bach compo sed the suite in C minor during the period when he
served as Kapellmeister in Cothen. It was originally written
scordatura with the A-string timed down to a G. However, itis also
possible to perform it with the standard tunning but with slightly
simplified chords. The prelude consists of a very emotional intro¬
ductory section which explores the deep end of the cello. The
second section is characterized by having a fugue-like quality. The
sarabande of the C minor suite is different from other suites
because there are no chords. Another interesting aspect of the suite
is that the Gigueis written in the French style instead of the Italian
style from previous suites.
Polonaise Brilliante in C Major, Op. 3 Frederic Chopin
Chopin composed the original version of this piece during the
summer of 1829 for the daughter of Antoni Radziwill. She was a
beautiful girl and a very accomplished pianist. Her father, on the
other hand, was just an amateur cellist. Therefore, the original
version consisted of an extremely simple cello part with a virtuo sic
piano accompaniment. Chopin himself described thie work as a
salon piece to be enjoyed casually. He also mentioned that its
purpose was to "show off the young lady's pretty fingers." Later
on, an introduction was added by the composer and the cello part
was re-writtenby the famous cellist Emanuel Feuermann.
Gaea s Lament Mark Scearce
This piece for solo cello was composed as a response to the 1989
Exxon Valdez disaster. A total of 11,000,000 gallons of crude oil
leaked from the ship contaminating over470 miles of the Alaskan
coast line. The composer uses the cello as a "musico-political
instrument of social concern. Scearce describes this piece as a
transmutation of his rage at the desecration of our planet. Gaea's
Lament explores the different colors of the instrument. The opening
should be played in a gregorian chant manner, with little vibrato,
trying to imitate the sound of a viol. There is a pizzicato section
a f ter the climax of the piece where the composer uses glissand i and
strumming to create the effect of a "Japanese garden." A rising
triplet figure is present throughout the piece, reminiscent of the
ocean waves.
Sonata in A Major, Op. 69 Ludwig van Beethoven
This sonata was composed in 1808 and dedicated to Baron
Gleichenstein. The first movement. Allegro ma non tanto, is
characterized its diversity of thematic material and the improvisa-
tional character of the themes. In the development section, the
melodic material is alternated between both instruments. The
second movement is a Scherzo. In this movement, the cello and
piano share some of the same melodic material. However, the
melody is displaced in the cello, creating a syncopated effect. The
very lyrical Adagio cantabile is technically an introduction to the
last movement ,Allegro vivace, which is written in sonata form.
This movement combines the virtuosic elements of both instru¬
ments, with highly emotional and intimate moments.
BIOGRAPHY
Marlene Ballena is a young aspiring cellist from Lima, Peru. She
is currently finishing her bachelor's degree in Music Performance
at the University of Louisville. Marlene began her orchestral
studies as a member of the Youth Orchestra of the Corporacion
Andina deFomento, performing in Venezuela, Ecuador, Colombia,
and Bolivia in 1998. She has also been a member of the Peruvian
National Symphony, the Philharmonic Orchestra of Lima, and
the Symphony Orchestra of Piura. In 2003, Marlene moved to
Louisville to study with Paul York. In the summer of 2004, she
attended the Sewanee Summer Music Festival and also won the
Concerto Competition.
School of
music
IMVERSITYof LOUISVILLE
--
dare to be great
presents
The Louisville
String Quartet
J. Patrick Rafferty, violin
Marcus Ratzenboeck, violin
Jamie Hofman, viola
Paul York, cello
Tuesday Evening
March 21, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Quartet in D Minor, K. 421
Allegro moderato
Andante
Menuetto: Allegretto
Allegretto, ma non troppo
W. A. Mozart
(1756-1791)
Quartet No. 1
Andante
Brincadeira
Canto Lirica
Canconeta
Melancolia
Saltando como um Saci
Heitor Villa-Lobos
(1881-1959)
INTERMISSION
String Trio in G Major, Op. 9, No. 1
Adagio - Allegro con brio
Adagio, ma non tanto e cantabile
Scherzo: Allegro
Presto
Ludwig van Beethoven
(1770-1827)
The Louisville String Quartet
J. Patrick Rafferty, violin
Marcus Ratzenboeck, violin
Jamie Hofman, viola
Paul York, cello
BIOGRAPHIES
J. Patrick Rafferty, violin
Violinist J. Patrick Rafferty has been hailed for his "exciting performances," his
"subtle and imaginative ideas about the music," and "a velvety, sweetly sonorous
tone [that] captured the intellect and calmed the soul" (Milwaukee Sentinel).
Rafferty's solo credits include concerto performances with the symphony
orchestras of Milwaukee, Dallas, Cincinnati, and St. Louis. In addition, he has
appeared as soloist with the Dallas Bach Orchestra, the Dallas Chamber Orchestra,
the Dallas Fine Arts Orchestra, the Brevard Music Center Orchestra, the Cincinnati
Symphony Chamber Orchestra, and many others, with over 40 works performed.
J. Patrick Rafferty served as Concertmaster of the Milwaukee Symphony Orchestra
from 1986 to 1991. He previously served as Associate Concertmaster of the Dallas
Symphony for eight years, and as Concertmaster for the Dallas Bach and Fine Arts
Orchestras. As recitalist, Rafferty has performed in New York, Chicago, Boston,
Washington, D.C., Cincinnati, Atlanta, Miami, Nashville, Orlando, and many other
cities.
An accomplished chamber music performer as well as an acclaimed solo and
orchestral artist, violinist J. Patrick Rafferty joined the internationally- acclaimed
Louisville String Quartet in 2005 as first violinist. He also maintains commitments
with the Cadek Trio, whom he joined in 1991. His national reputation as an
outstanding chamber musician has been built on his association with such
ensembles as the New Marlboro Chamber Players, the American Chamber Trio,
the Fine Arts Chamber Players, the Dallas Chamber Orchestra, and the Walden
Chamber Players.
While maintaining his active performance schedule, Rafferty has successfully
built a respected teaching career. He has taught at the Wisconsin Conservatory,
the University of Wisconsin-Milwaukee, the University of Alabama, and is now
Associate Professor of Violin at the University of Louisville. He is also on the
summer artist faculty of the Brevard Music Center in North Carolina, where he
is concertmaster of the Brevard Music Center Orchestra.
Marcus Ratzenboeck, violin
Marcus Ratzenboeck has been Principal second violin of the Louisville Orchestra
since 2000. He has been violin faculty at the University of Louisville and the second
violinist of the Louisville String Quartet since 2001. He also serves as concertmaster
of the Louisville Bach Society. Marcus has a master's degree in Violin Performance
from Indiana University, where he studied with Henryk Kowalski and Yuval Yaron.
He also holds a Bachelor of Music in Violin Performance from Florida State
University, where he studied with Eliot Chapo. While at Indiana University,
Marcus served as concertmaster of the IU Symphony Orchestra and co-
concertmaster of the Columbus (IN) Philharmonic. Marcus currently gives
numerous recitals both as a solo and chamber musician. He has served as
concertmaster and soloist for the Spoleto U.S.A. festival and has been featured
in festivals including Sarasota Music Festival, Tanglewood Festival, A.I.M.S. Graz
in Austria, Hirosaki International Music Festival (Japan), Bear Valley Festival
(CA), and as concertmaster of the Indiana University Festival Orchestra.
Jamie Hofman, viola
Jamie Hofman is a graduate of Indiana University and holds performance
degrees in violin (BM) and viola (BM), as well as a Performer's Diploma on viola.
His principal teachers have been Mimi Zweig, Jerry Horner, and Atar Arad. He is
a member of the Louisville Orchestra and the Louisville String Quartet. Mr.
Hofman has performed around the world at festivals such as the Schlewig-
Holstein Musik Festival in Germany, the European Musik Festival - Stuttgart, the
International Festival Symphony - Jerusalem, the Pacific Music Festival -Japan,
Blossom Music Festival -Cleveland, and the Sarasota Music Festival in Florida. Mr.
Hofman won the second prize in the Chicago Viola Society Solo competition and
has performed as a soloist in Milwaukee with the Milwaukee Chamber Orchestra,
the Catholic Symphony Orchestra, and on the Civic Music Artist and Ensemble
series. Mr. Hofman is actively involved in teaching through the Louisville Youth
Orchestra, various summer camps, and private lessons.
Paul York, cello
An accomplished soloist, chamber musician and teacher, Paul York has appeared
in recital and with orchestras in the U.S. and abroad. Mr. York serves on the string
faculty at the University of Louisville, where he maintains an active teaching and
performing schedule. Recent solo appearances include a performance of Vivaldi's
Double Concerto in G Minor with internationally-acclaimed cellist Yo-Yo Ma.
An avid chamber musician, Mr. York is a member of the Louisville String Quartet
and was a founding member of The Logsdon Chamber Ensemble, a Texas
Commission of the Arts Touring ensemble as well as ensemble-in-residence at
Hardin-Simmons University. As a champion of contemporary music, Mr. York has
commissioned works for the cello by such composers as Stefan Freund, Marc
Satterwhite, Steve Rouse, Paul Brink, Frederick Speck, and John La Barbera. He
also premiered Alfred Bartle's new orchestration of Bartok's First Rhapsody for
cello with the Sewanee Festival Orchestra and, in February of 2005, performed the
Grawemeyer Award-winning cello concerto Colored Field by Aaron Jay Kemis with
the Louisville Orchestra.
Mr. York has participated in numerous summer festivals. He is currently a
member of the artist faculty and head of the cello department at the Sewanee
Summer Music Festival, where he performs solo and chamber works and serves
a principal cello of the Festival Orchestra, in addition to his teaching schedule. He
has also performed at Strings in the Mountains in Colorado, the Abilene Chamber
Music Series, and served as principal cello with the Des Moines Metro Opera
Orchestra. He has held principal cello positions with numerous regional orchestras
and performed as a member of the cello section of the Saint Louis Symphony
under the direction of Leonard Slatkin.
Mr. York received his bachelor's degree from the University of Southern California
and his master of music degree from the University of California at Santa Barbara,
where he studied with Ronald Leonard. The recipient of numerous honors an
awards, Mr. York was selected to participate in the prestigious Piatigrosky
seminar at the University of South California. Mr. York can be heard on the C
label and has recorded a CD of French Baroque chamber music with Promen e at
the University of Southern Mississippi where he previously served as fa ty.
School of
music
IMVERSTIYof IDUISVILLE
dare to be great
presents
University Jazz
Combos
Chris Fitzgerald, Jason Foureman,
Tyrone Wheeler, Alexis Marsh
& Brian Koning,
directors
Tuesday Evening
March 21, 2006
8:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event offire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
"Charlie Mingus" Combo
Tyrone Wheeler & Jason Foureman, directors
The Kicker
Joe Henderson
Midnight Waltz
Cedar Walton
Tom Thumb
Wayne Shorter
Nate McCoy, tenor saxophone
Merritt Navazio, alto saxophone
Allison Cross, trombone
Chris Seal, guitar
Colin Lippy, piano
Jenna Mattingly, bass
Greg Artry, drums
"Milt Hinton" Combo
Chris Fitzgerald & Alexis Marsh, directors
Just Friends
John Klenner
Smile
Charlie Chaplin
Caravan
Duke Ellington
Ty Juana Taylor, flute
Evan Hudson, tenor saxophone
Michelle Linder, clarinet
Barrett Smith, guitar
Virginie Achim, piano
Paul Buchholz, bass
Phil Turner, drums
"Ray Brown" Combo
Jason Foureman & Brian Koning, directors
I Love You
Wallace
Canteloupe Island
Cole Porter
Brian Koning
Herbie Hancock
Brent Hall, trumpet
David Whiteman, alto saxophone
Jake Stith, guitar
Anthony Ransom, piano
Will Roberts, bass
Bobby Falk, drums
music
IMVERSITYof I0UISVIUE.
dare to be great
presents
John S. Moore,
tenor saxophone
with
Krista Wallace-Boaz, piano
Faculty Recital
Wednesday Evening
March 22, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sinfonia
Adagio
Allegro
Adagio
Allegro
Music for Tenor Saxophone and Piano (1
J= 60
To the memory of Coleman Hawkins
J= 120
Elegie et Rondeau (1960)
INTERMISSION
Tri Koncertni Skladby (1966)
Allegro energico
Andante. Poco grave
Allegro assai
Aria (1930)
Suite Hebraique
Cantorial Chant
Chasidic Dance
Hora
Lullaby
Dialogue
Circle Dance
Nicola Porpora
(1686-1768)
trans. Rascher
M. William Karlins
(1932-2005)
Karel Husa
(b. 1921)
Karel Reiner
(1910-1979)
Jacques Ibert
(1890-1962)
Srul Irving Glick
(1934-2002)
School of
music
UNIVERSITY of 1DOLSVILUE
dare to be great
presents
Patrick Ian Carroll
trombone
student of Brett Shuster
with
Krista Wallace-Boaz, piano
and
Bert Moon, trombone
Student Recital
Thursday Evening
March 23, 2006
8:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Syrinx (La flute de Pan)
Claude Debussy
(1862-1918)
Basta (1982)
Folke Rabe
(b. 1935)
Barely Broken (2006)
Rob Collier
(b. 1980)
Arctic Emanations (1997)
Norman Bolter
(b. 1955)
INTERMISSION
Not Appears (2006)
Aaron Stepp
(b. 1985)
Ian Carroll and Bert Moon, trombones
Histoires
I. The Golden Turtle
II. The Little White Donkey
HI. The Old Man
IV. In the Sad House
V. The Abandoned Place
VI. Under the Table
VII. The Cage of Crystal
Vin. The Water Seller
Jacques Ibert
(1890-1962)
Quick 'n' Delicious (1996)
for trombone and digital reverberation unit
Michael Angell
(b. 1964)
PROGRAM NOTES
Syrinx (La flute de Pan)
"Syrinx" was originally written for flute and to be performed as
incidental music to Gabriel Moure/s play. Psyche. In fact, it turned out to
be the only music written by Debussy for Moure/s theatrical production
of Psyche. In the play, the flute solo accompanies the dialogue between two
nymphs. Naiad and Oread. Naiad, who has never met Pan, is afraid of the
god and wants to escape him. Only a few notes played by Pan changes the
opinion of Naiad, who cannot help but become intoxicated and swept
away by the love of the sensuous god. How I crave to travel back to those
strange and exotic times that were all at once hedonistic and pure.
Debussy instructs the performer to play offstage; Pan was inside
his cave and must remain invisible. In a letter to Mourey, Debussy wrote:
"Dear Mourey, so far I have not found what is needed...
because a flute singing on the horizon must at once contain its
emotion! That is, there is no time for repetitions, and exaggerated
artificialness will coarsen the expression since the line or melodic
pattern cannot rely on any interruption of color."
The words spoken just before the entry of Pan's flute are as follows:
"Keep silent, contain your joy, listen."
And immediately after the entry:
". ..the stars and the gods? But here is Pan beginning to play his flute
again."
Basta
Folke Rabe's trombone solo has become over time a staple in the
trombone repertoire. As a composer and a trombonist himself, he has been
at the forefront with his music, both acoustical and, increasingly, elec¬
tronic. Rabe has this to say about this peculiar solo piece written for
Christian Lindberg in 1982:
"(Basta)...is very much a virtuoso piece - the trombonist is
very occupied all the time -1 got the notion that this is like someone
coming on stage with an urgent message to deliver. When he's done
that, when he's filled his mission, it's basta; "enough" in Italian,
and he disappears again. I don't know what that urgent message
is, no more than you; nor does anyone else..."
As many times as I've contemplated what that urgent message is, I always
come back to the same idea. I believe that urgent message is derived from
something impulsive, spontaneous, vulgar, and brash. As you'll hear, I
include those ideas....and more.
Barely Broken
In February of 2006, Rob Collier asked me to record some music.
After I received a CD copy of the music, I promptly put it in my CD player
and walked home. On the way home, a man stopped me and asked me for
some money. I said I had nothing to give and asked him to listen to whati
I was listening to. He clumsily put one side of the earphones to his left ear.
Shortly after, he handed them back to me and remarked, "the sharpness
of a rose is like the smell of pain. Sounds like my bottle full of rain I collected.
Little is left to tell."
Arctic Emanations
Written by an orchestral trombonist for an orchestral trombonist,
this beautiful work for trombone and piano will no doubt become a part
of standard repertoire for all trombonists in the near future. Norman
Bolter, a brilliant teacher and full of character, draws upon the natural
world, special human qualities, and human stories as inspiration for his
compositions. Arctic Emanations evokes many aspects of the Arctic such as
the broad and zen-like landscapes, the long dark winters, the long bright
summers, the Aurora Borealis, glaciers, the purity of the white snow, and
even the yellow Arctic Poppy that pushes its way through the dense snow.
Bolter also includes an Eskimo children's song.
Not Appears
In January of2006,1 asked Aaron to write a piece for two trombones
(Bert and myself) that would specifically open and clear the air for the
second half of a program. I specifically requested that the piece compliment
the first piece ("Syrinx") on my program. Just like the opening solo, this
piece also requires the performers to be hidden away from the view of the
audience. I suggested the title of the piece to be "Not Appears": an anagram
for Aaron Stepp.
Histoires
"I dream of a collaboration that would finally be total, in
which the librettist would often think as a composer and the
composer as a librettist."
-Jacques Ibert
This quote comes to mind when I think of these eight short "stories,"
originally written for saxophone and piano. IberLs music is good-hu¬
mored and evocative, with an abundance of attractive and colorful melo¬
dies. These eight "histoires" remind me of the works written by other
French composers that were intended for children (Ravel's "Mother Goose"
and Saint-Saens' "Carnival of Animals"). Therefore, I intend to bring back
that feeling of being an innocent five year-old, curious about the world
around you with the help of some simple, but nostalgic refreshments. So
finish playing with your Legos and put away your Link'n'Logs. Approach
the stage, as I will pass out milk and cookies for everyone prior to the
performance. I will also ask everyone, after you have gotten your food and
drink, to sit close to the stage.
Quick 'n' Delicious
This piece was written for the trombonist Andrew Glendening
who is an avid performer of contemporary music and has debuted over a
100 works for trombone. Angell, always exploring new ways of composing
with electronics and digital equipment, when asked by Andrew to write
a solo for him, wrote a trombone solo with the use of a digital reverberation
unit. When the DRU (digital reverberation unit) is employed by the
trombonist, the effect is similar to the sostenuto pedal of the piano. The
sound reminds me of when a the character makes a hastily exit and a puff
of air in the shape of the character is the only thing that remains. This is
also commonly referred to as Amendment F of the Cartoon Law of Physics.
The title both refers to the short, virtuosic nature of the piece, as
well as the name of a fast food restaurant that was frequented by Andrew
and Michael during their student days at Oberlin College. I enjoy this piece
because, not only is it usually not performed, it is also extraordinarily
intense throughout the entire work.
School of
music
LNIVERSITYqf LOUISVILLE
dare to be great
Thursday, March 23,2006
3:00 p.m.
Margaret Comstock Concert Hall
Sonata in A Minor
Allegro
Megan Johnson, flute
MUS 112 / Gottlieb
Wanderers Nachtlied
James Cooper, baritone
n/a / Weeks
Aaron Jent, piano
Verborgenheit
(* text and translation on reverse)
Rianne Marcum, mezzo-soprano
MUS 204 / Weeks
Mary Ann Mattingly, piano
On the Other Shore
Ricky Case, tenor
MUS 104/Weeks
Mary Ann Mattingly, piano
Faites-lui mes aveux
from Faust
Sarah Patrick, mezzo-soprano
MUS 404 / Everette
Mary Ann Mattingly, piano
Convocation
C. P. E. Bach
(1714-1788)
Franz Schubert
(1797-1828)
Hugo Wolf
(1860-1903)
Steven Mark Kohn
(b. 1957)
Charles Gounod
(1818-1893)
Concert Rondo Wolfgang Amadeus Mozart
(1756-1791)
Todd Obidowski, fluegelhom
MUS 604 / Tunnell
Mary Ann Mattingly, piano
Concerto in E-flat Major, Hob. Vile, No. 1 Joseph Haydn
for trumpet and orchestra (1732-1809)
Mvt.n
Ryan Carpenter, trumpet
MUS 112 / Tunnell
Adam Mills, piano
Valse Op. 64, No. 1
Mol to vivace
Jim Dersch, piano
MUS 204 / Oliphant
Frederic Chopin
(1810-1849)
Verborgenheit
Lafi, o Welt, o lafi mich sein!
Locket nicht mit Liebesgaben,
Lafit dies Herz alleine haben
Seine Wonne, seine Pein!
Was ich traure, weifi ich night,
Es ist unbekanntes Wehe;
Immerdar durch Tranen sehe
Ich der Sonne liebes Licht.
Oft bin ich mir kaum bewufit,
Und die helle Freude ziicket
Durch die Schwere, mich driicket,
Wonniglich in meiner Brust.
Lafi, o Welt, o lafi mich sein!
Locket nicht mit Liebesgaben,
Lafit dies Herz alleine haben
Seine Wonne, seine Pein!
Secrecy
Oh, world, let me be!
Entice me not with gifts of love.
Let this heart in solitude have
Your bliss, your pain!
What I mourn, I know not.
It is an unknown pain;
Forever through tears shall I see
The sun's love-light.
Often, I am scarcely conscious
And the bright joys break
Through the pain, thus pressing
Delightfully into my breast.
Oh, world, let me be!
Entice me not with gifts of love.
Let this heart in solitude have
Your bliss, your pain!
School of @
music
LNIVERSI1Y of IDUI^ILLE,
--
dare to be great
presents
Daniel Stull,
euphonium
student of John Jones
with
Deborah Dierks, piano
and
The Green Room Tuba Quartet
Student Recital
Thursday Evening
March 23, 2006
7:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Fantasia
Declarations
Pearls
1. Ducati SPS 916
2. My One and Only Love
3. Suzi
INTERMISSION
Apres un reve
Fantaisie Originale
Le Secret
Gordon Jacob
(1895-1984)
Andre Waignein
(b. 1942)
Roland Szentpali
(b. 1977)
Gabriel Faure
(1825-1924)
Ermano Picchi
(1811-1856)
Leonard Gautier
arr. David Werden
The Green Room Tuba Quartet
Daniel Stull, euphonium Aaron Gaither, tuba
Matt Byrum, euphonium DougMeece, tuba
School of
music
IMVERSIIYof 1DUISVILLE
dare to be great
presents
Clayton Vaughn,
cello
student of Paul York
with
David Ballena, piano
Student Recital
Thursday Evening
March 23, 2006
8:30 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronicwatchesandpagers. Thankyou.
PROGRAM
Sonata for Cello and Piano
Prologue
Serenade et Finale
Suite No. 3 for Solo Cello, BWV 1009
Prelude
Allemande
Courante
Sarabande
Bourree I and II
Gigue
PAUSE
Sonata in F Major for Cello and Piano, Op. 6
Allegro con brio
Andante ma non troppo
Allegro vivo
Claude Debussy
(1862-1918)
J. S. Bach
(1685-1750)
Richard Strauss
(1864-1949)
music
IMVERSITYof 1DUISVILLE
«-•••" --
dare to be great
presents
Marlene Ballena
cello
student of Paul York
with
David Ballena, piano
Student Recital
Friday Evening
March 24, 2006
7:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Suite No. 3 in C Major, BWV 1009 Johann Sebastian Bach
Prelude (1685-1750)
Allemande
Courante
Sarabande
Bourree I - II
Gigue
Elegie in C Minor, Op. 24
Gabriel Faure
(1845-1924)
INTERMISSION
Sonata for cello and piano. Op. 40
Allegro non troppo
Allegro
Largo
Allegro
Dmitri Shostakovich
(1906-1975)
CHAMBER
MUSIC
SOCIETY
of Louisville
^fi'music
IMVERSITYof IOU1SVILLE
” — - --
dare to be great
present
The Macauley
Chamber Music
Competition
Brenda Kee, competition director
Saturday, March 25,2006
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
COLLEGE DIVISION
Lyon String Quartet - 9:00 a.m. - Coach: Paul York
String Quartet No. 7 in F-sharp Major, Op. 108
L Allegretto
String Quartet No. 4 in C Minor, Op. 18, No. 4
L Allegro ma non tanto
Dmitri Shostakovich
(1906-1975)
Ludwig van Beethoven
(1770-1827)
Gerome Stewart, violin Alisson Reber, viola
Juan Carlos Ortega, violin Erin Cassel, cello
* Glass Brass - 9:15 a.m. - Coach: D. Bruce Heim
Frost Fire Eric Ewazen
L Bright and Fast (b. 1954)
Quintet Michael Kamen
(1948-2003)
Brian Glass, trumpet Lindsay Pummell, horn
Charles Calloway, trumpet Sarah Finger, trombone
David Jaggie, tuba
The Brass Moment - 9:30 a.m. - Coach: D. Bruce Heim
Little Fugue in G Minor
Johann Sebastian Bach
(1685-1750)
Quintet
L Allegro vivace
Malcolm Arnold
(b. 1921)
Matthew Janssen, trumpet Dominic Rotella, horn
Melissa McDaniel, trumpet Aaron Stepp, trombone
Aaron Gaither, CC tuba
Charlie and His Angels - 9:45 a.m. - Coach: Paul York
String Quartet No. 1 in E-flat Major, Op. 12
fl. Canzonetta: Allegretto
Felix Mendelssohn
(1809-1847)
String Quartet No. 1
L Cantilena: Andante
EliseKotheimer, violin
Cordia Thompkins, violin
Heitor Villa-Lobos
(1887-1959)
Monica Clarke, viola
Charlie Patton, cello
MIDDLE SCHOOL DIVISION
The Fairy Trio - 10:30 a.m. - Coach: Nancy Albrink
Salut d’amour Edward Elgar
(1857-1934)
Joseph Haydn
(1732-1809)
Mary Gail Richardson, violin
Anne Richardson, cello
Kahuro Amano, piano
Piano Trio in G Major, Hob. XV/25
HI. Rondo all'Ongarese: Presto
The Rave - 10:40 a.m. - Coach: Susan Kinman
Sinfonia Paraphrase from Trio in A Minor Georg Philipp Telemann
Largo-Allegro (1681-1767)
arr. R. Brown
Richard Rodgers
(1902-1979)
arr. L. Conley
Lili Kinman, violin Amna Zolj, viola
Lyla Wasz-Piper, violin Victoria LeBlanc, cello
Rainbow Williams, bass
The Three Amigos - 10:50 a.m. - Coach: Hiroko Driver
Fandango Michael McLean
Praludium Dmitri Shostakovich
Do - Re - Mi
from The Sound of Music
Gillian Scharf, violin
Katie Scharf, cello
Arisa Katayama, piano
Brown School String Quartet -11:00 a.m. - Coach: Bonnie Avery
Divertimento No. 3 in F Major, K. 138
L Allegro
II. Andante
Pineapple Rag
Beth Hoagland, violin
Kaelin Garrett, violin
Wolfgang Amadeus Mozart
(1756-1791)
Scott Joplin
(1868-1917)
arr. William Zinn
Dominique Luster, viola
Erica Stoddard, cello
Trio Crescendo - 11:10 a.m. - Coach: Jim Stopher
Piano Trio (Divertimento) in B-flat Major, Wolfgang Amadeus Mozart
K. 254
L Allegro assai
Melody in D Major
Eli Kleinsmith, violin
Hannah Soren, cello
John Tamplin, piano
B-Sharp - 11:20 a.m. - Coach: Chris Lemer
String Quartet No. 2 in D Major, K. 155 Wolfgang Amadeus Mozart
L Allegro
String Quartet No. 1 in C Major, Op. 49 Dmitri Shostakovich
L Moderato
Miranda Martin, violin Celine Mutuyemariya, viola
Lynn Garrett, violin Katherine Garrett, cello
The 8th Meyzeek Quartet -11:30 a.m. - Coach: Susan Kinman
Concerto in D Major for Four Violins Georg Philipp Telemann
Adagio - Allegro - Grave
Romance, Op. 43, No. 2 Joseph Hellmesberger, Jr.
(1855-1907)
Ji Young Sohn, violin
Kristi Choi, violin
Margaret Lee, violin
Hyun Kang, violin
Gabriel Faure
(1845-1924)
HIGH SCHOOL DIVISION
YPAS Flute Quartet - 12:40 p.m. - Coach: Dennis Robinson
Grand Quartet in D Major, Op. 92
L Allegro moderato
Quatre aspect feminins
L D'un regard etrange
Casey Henry, flute
Helen Hua, flute
Katie Lozier, flute
Caitlin McChesney,/Zute
Ernest Kohler
Pierre Paubon
(1910-1995)
Fantastic Four - 1:00 p.m. - Coach: Chris Lemer
String Quartet No. 3 in G Major, K. 156 Wolfgang Amadeus Mozart
L Presto
String Quartet No. 1 in C Major, Op. 49 Dmitri Shostakovich
L Moderato
Stephen Andersen, violin Hannah Darby-Wadler, viola
Cameron Pickup, violin Katie Gearhart, cello
Floyd Central Trio - 1:15 p.m. - Coach: Doug Elmore
Blackberry Mull Mark O'Connor
(b. 1961)
Serenade in D Major, Op. 8 Ludwig van Beethoven
L Marcia: Allegro
Anna Dolan, violin
Amelia Martin, viola
Eric Crockett, cello
Central Kentucky Youth Orchestra Woodwind Quintet
1:30 p.m. - Coach: David Bryant
Suite of Old Lettish Dances
L Sarabumbals
R Martinu Dancis
Early Hungarian Dances
Andrejs Jansons
(b. 1938)
Farkas Ferenc
(1905-2000)
Whitney Barker, flute Amanda Tallant, clarinet
Rebecca Hertog, oboe Melanie Erena, horn
Mary Grace Tate, bassoon
The Perfect Fifths Wind Quintet
1:45 p.m. - Coach: Dennis Robinson
Quintet in B-flat Major, Op. 56, No. 1
L Allegretto
Franz Danzi
(1763-1826)
Quintet for Winds
I. Allegro risoluto
Robert Muczynski
(b. 1929)
Casey Henry, flute Jennifer Powers, clarinet
Ben Williams, oboe Hannah Mills, horn
Spencer Wills, bassoon
Amici Quartet - 2:00 p.m. - Coach: Yoonie Choi
String Quartet No. 9 in C Major, Op. 59, No. 3 Ludwig van Beethoven
I. Introduzione: Andante con moto - Allegro vivace
String Quartet No. 1 in B Minor, Op. 50
L Allegro
Molly Rogers, violin
Verena Ochanine, violin
Sergei Prokofiev
(1891-1953)
Jonathan Miller, viola
Byron Farrar, cello
The Crimson Trio - 2:15 p.m. - Coach: Megumi Ohkubo
Piano Trio in E-flat Major, Op. 1, No. 1 Ludwig van Beethoven
I. Allegro
Piano Trio No. 2 in E Minor, Op. 67 Dmitri Shostakovich
II. Allegro non troppo
Anne Yang, violin
Alan Ohkubo, cello
Karen Guan, piano
JUDGES
Donna Lively Clark is a violist in the Indianapolis Chamber Orchestra, Duo
Criollo, Duo Piacere, and the Lockerbie String Quartet. She is currently guest
professor of viola at Indiana University, and has served in that same capacity
at Ball State University. She has also taught on the faculties of the Viola Camp
at Pepperdine University, the National String Workshop at University of
Wisconsin-Madison, and Ecole Saint Trinite, Port au Prince, Haiti. She holds
degrees from Indiana University and Butler University, where she served as
a faculty member for fifteen years.
Joanna Goldstein, pianist, is Professor of Music, Director of University Arts
Programming, and Director of the Orchestra at Indiana University Southeast.
She was also formerly the Dean of the School of Arts and Letters. She holds
degrees from Temple University, The Juilliard School, and New York Univer¬
sity, and has studied at the Academy for Music and the Performing Arts in
Vienna, Austria. She has performed with the Louisville Orchestra, the Atlanta
Symphony Orchestra, and the Philadelphia Orchestra, and is a founding
member of the Kentucky Center Chamber Players.
Scott Wright is Professor of Clarinet at the University of Kentucky, and has also
taught at the University of Wisconsin-Green Bay. He holds degrees from the
University of Michigan and Arizona State University. He is a member of the
internationally renowned New Sousa Band, and is active as a soloist, clinician,
adjudicator, and conductor. He has been a frequent featured performer at the
annual conference of the International Clarinet Association. As a member of
Duo Pegasus, he has performed at the 7 lh International Festival of Contempo¬
rary Music in Bratislava and at the Naples Conservatory in Italy.
School of
music
IMVERSITYqf IOUISVILLE
dare to be great
■presents
Dan Dorff,
jazz drumset
student of Jason Tiemann
and John La Barbera
Graduate Recital
Sunday Afternoon
March 26, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Put on a Happy Face (1961)
Upward (2005)
God Bless the Child (1941)
Hothouse (1946)
Eiderdown
Birth
Realization (2006)
Chelsea Morning (1969)
Charles Strouse
Dan Dorff
Billie Holiday
arr. Dan Dorff
Tadd Dameron
arr. Dan Dorff and Rusty Burge
Steve Swallow (b. 1940)
Dan Dorff, Sr. (b. 1946)
Martha Dorff (b. 1945)
Dan Dorff
Joni Mitchell
arr. Dan Dorff
Additional performers
Jason Foureman, bass
Sam Farley, piano
Rusty Burge, vibraphone
Mike Scharfe, bass
Charlie Schweitzer, congas
Matt Lawson, trumpet
Matt Yarborough, trombone
Martha I
Dave Clark, alto saxophone
Alexis Marsh, alto saxophone
Mike Arthurs, tenor saxophone
Sarah Dorff Schmid, voice
Amanda Dorff Heisler, voice
Rebecca Dorff, voice
Dan Dorff Sr., voice
f, harmonica
This recital is given in partial fulfillment of the requirements
for the Master of Music degree.
PROGRAM NOTES
Put on a Happy Face Charles Strouse
A staple in the American songbook, "Put on a Happy Face" was written for
the Tony Award winning musical "Bye Bye Birdie” in 1961 by Charles
Strouse, an Eastman graduate who studied composition under Copland,
Nadia Boulanger and David Diamond.
Upward Dan Dorff
"Upward" was originally conceived for a quintet I played with at CCM. I
was listening to a lot of Wayne Shorter compositions at the time and this
piece was an attempt to create an efficient vehicle for modal improvisa¬
tions in the spirit of Shorter’s compositional style. This year I added a
second section to the piece, intended as a send-off between solos. It provides
a more concrete counterpoint to the more atmospheric A section.
God Bless the Child Billie Holiday
This song was written by the great Billie Holiday in 1941, with lyrics by
Arthur Herzog Jr. Its melody and frequent plagal cadences are deeply
rooted in the blues and African-American spiritual tradition. The arrange¬
ment intended as a gift to my father, a wonderful guitarist and singer. He
often plays this at home and I wanted to create an arrangement to support
him as a part of my composition and arranging lessons with John LaBarbera.
Hothouse TaddDameron
This tune was written by pianist Tadd Dameron in 1945 as a contrafact (a
concrete melody based on the chord structure of another song) on "What
is this Thing Called Love." It is an essential part of the bebop canon. Rusty
Burge, my former teacher at the Cincinnati College Conservatory of Music,
taught me this song and we recorded it together as a marimba and hand
drum duet on his album "Contrast" in 2004.
Eiderdown Steve Swallow
"Eiderdown" is one bassist Steve Swallow's (b. 1940) earliest composi¬
tions. Recorded by Jim Hall, "Eiderdown" has been immortalized in the
first Jazz Real book, which Swallow helped compile during his time at
Berklee College of Music in Boston. I was introduced to this composition by
Rusty Burge and Cincinnati bassist Mike Scharfe.
Birth Dan Dorff, Sr. and Martha Dorff
"Birth" was written by my parents. It is one of the many songs that remind
me of home.
Realization Dan Dorff
This composition is a product of my studies with John La Barbera. It is an
attempt to meld several Latin American dance rhythms (songo, samba,
meringue) with the harmonic and textural conception of some of my role
models (Pat Metheny, Wayne Shorter, and Hermeto Pascoal) into one
cohesive whole. "Realization" is also intended to feature the voices of my
sisters Sarah and Amanda.
Chelsea Morning Joni Mitchell
"Chelsea Morning" was written by the great Joni Mitchell and released on
her 1969 album Clouds when she was 26 years old. I remember my mother
singing this song when I was a child, and was amazed even then at the
mastery of language and music that the song exhibits. This arrangement
was written with my youngest sister Rebecca in mind, a wonderful singer
and a devoted Joni Mitchell fan.
ACKNOWLEDGEMENTS
I would like the following people here at University of Louisville
who have helped shape my music and my life. Jason Tiemann, John
La Barbera, Chris Fitzgerald, Jerry Tolson, Mike Tracy, Jean
Christensen, Sam Farley, Jason Foureman, Alexis Marsh, Matt
Yarborough, Mike Arthurs, Brian Koning, Matt Lawson, Dave
Clark.
My Family: Mom, Dad, Sarah, Amanda, Rebecca, J.C., and Pete. I
love you.
The Cincinnati Contingent: Rusty Burge, Mike Scharfe, Charlie
Schweitzer. I am honored.
CHAMBER
MUSIC
SOCIETY
of Louisville
^ji’music
IMVERSllYof IOUlfMLLE
--
dare to be great
present
The Macauley
Chamber Music
Competition
Winners Recital
Brenda Kee, Competition Director
Sunday Evening
March 26, 2006
7:00 p.m.
Malcolm Bird Recital Hall
Smokingisnotpermittedin the School of Musicbuilding. In the unlikely event offire or other emergency,
please walk to the neares t exit. The use of recording devices andflash photography is strictly proh ibited.
Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Franz Danzi
(1763-1826)
Quintet in B-flat Major, Op. 56, No. 1
L Allegretto
The Perfect Fifths Wind Quintet
High School Third Prize
Casey Henry, flute Jennifer Powers, clarinet
Ben Williams, oboe Hannah Mills, horn
Spencer Wills, bassoon
Coach: Dennis Robinson
Romance, Op. 43, No. 2
Joseph Hellmesberger, Jr.
(1855-1907)
The 8th Meyzeek Quartet
Middle School Honorable Mention
Ji Young Sohn, violin
Anna Jiang, violin
Margaret Lee, violin
Hyun Kang, violin
Coach: Susan Kinman
Quintet
L Allegro vivace
Malcolm Arnold
(b. 1921)
The Brass Moment
College Second Prize
Matthewjanssen, trumpet Dominic Rotella, horn
Melissa McDaniel, trumpet Aaron Stepp, trombone
Aaron Gaither, CC tuba
Coach: D. Bruce Heim
Salut d'amour
Edward Elgar
(1857-1934)
arr. Tadashi Hamano
Joseph Haydn
(1732-1809)
The Fairy Trio
Middle School Second Prize
Mary Gail Richardson, violin
Anne Richardson, cello
Kahoru Amano, piano
Coach: Nancy Aibrink
Piano Trio in G Major, Hob. XV/25
HI. Rondo all'Ongarese: Presto
Praludium
Fandango
Dmitri Shostakovich
(1906-1975)
Michael McLean
The Three Amigos
Middle School First Prize
Gillian Scharf, violin
Katie Scharf, violin
Arisa Katayama, piano
Coach: Hiroko Driver
String Quartet No. 1 in B Minor, Op. 50 Sergei Prokofiev
L Allegro ‘ (1891-1953)
String Quartet No. 9 in C Major, Op. 59, No. 3 Ludwig van Beethoven
L Introduzione: Andante con moto — Allegro vivace (1770-1827)
Amici Quartet
High School First Prize
Molly Rogers, violin Jonathan Miller, viola
Verena Ochanine, violin Byron Farrar, cello
Coach: Yoonie Choi
Ludwig van Beethoven
Piano Trio in E-flat Major, Op. 1, No. 1
L Allegro
Piano Trio No. 2 in E Minor, Op. 67 Dmitri Shostakovich
IL Allegro non troppo
The Crimson Trio
High School First Prize
Anne Yang, violin
Alan Ohkubo, cello
Karen Guan, piano
Coach: Megumi Ohkubo
String Quartet No. 7 in F-sharp Major, Op. 108 Dmitri Shostakovich
L Allegretto
String Quartet No. 4 in C Minor, Op. 18, No. 4 Ludwig van Beethoven
L Allegro ma non tanto
Lyon String Quartet
College First Prize
Gerome Stewart, violin Alisson Reber, viola
Juan Carlos Ortega, violin Erin Cassel, cello
Coach: Paul York
There will be a reception immediately follwing the recital
JUDGES
Donna Lively Clark is a violist in the Indianapolis Chamber Orchestra, Duo
Criollo, Duo Piacere, and the Lockerbie String Quartet. She is currently guest
professor of viola at Indiana University, and has served in that same capacity
at Ball State University. She has also taught on the faculties of the Viola Camp
at Pepperdine University, the National String Workshop at University of
Wisconsin-Madison, and Ecole Saint Trinite, Port au Prince, Haiti. She holds
degrees from Indiana University and Butler University, where she served as
a faculty member for fifteen years.
Joanna Goldstein, pianist, is Professor of Music, Director of University Arts
Programming, and Director of the Orchestra at Indiana University Southeast.
She was also formerly the Dean of the School of Arts and Letters. She holds
degrees from Temple University, The Juilliard School, and New York Univer¬
sity, and has studied at the Academy for Music and the Performing Arts in
Vienna, Austria. She has performed with the Louisville Orchestra, the Atlanta
Symphony Orchestra, and the Philadelphia Orchestra, and is a founding
member of the Kentucky Center Chamber Players.
Scott Wright is Professor of Clarinet at the University of Kentucky, and has also
Vdu^ilt «U'ine T iImiversity oVWiscons'm-GreenT3ay. He holds degrees from the
University of Michigan and Arizona State University. He is a member of the
internationally renowned New Sousa Band, and is active as a soloist, clinician,
adjudicator, and conductor. He has been a frequent featured performer at the
annual conference of the International Clarinet Association. As a member of
Duo Pegasus, he has performed at the 7 th International Festival of Contempo¬
rary Music in Bratislava and at the Naples Conservatory in Italy.
This competition is named in memory of
Judge Macauley Smith,
a lover of chamber music and friend to chamber musicians.
We wish to express speial thanks to
Mrs. Macauley Smith
and
Dean Christopher Doane.
music
IMVERSITYof IOUISVILIE
dare to be great
presents
Jason Foureman,
bass
student of Chris Fitzgerald
with
Sam Farley, piano
Dan Dorff, drums
Matt Yarborough, trombone
Dave Clark, alto saxophone
Graduate Recital
Monday Evening
March 27, 2006
7:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly proh ibi ted. -Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Remember
Irving Berlin (1888-1989)
My Waltz (for Judy)
Jason Foureman (b. 1976)
Dolphin Dance
Herbie Hancock (b. 1940)
But Beautiful
Jimmy Van Heusen (1913-1990)
Joy Spring
Clifford Brown (1930-1956)
Five
BiH Evans (1929-1980)
Jakub's Wildflowers
Jason Foureman
Hi-Fly
Randy Weston (b. 1926)
Ensemble
Sam Farley, piano
Dan Dorff, drums
Matt Yarborough, trombone
Dave Clark, alto saxophone
JasonFoureman, bass
This recital is given in partial fulfillment of the requirements
for the Master of Music degree.
PROGRAM NOTES
Remember Irving Berlin
This parlor song was written by Berlin in 1925. Initially it was conceived
as a ballad in 3/4 until Hank Mobley got a hold of it. In 1967, Mobley (along
with Paul Chambers, Wynton Kelly, and Art Blakey) recorded the record
"Soul Station" at the Van Gelder studio for Blue Note records; it has since
become a jazz classic. Their rendition is decidedly not a ballad. They also
make a few other changes; they change key from the original key of C to A-
flat and they play it in 4/4.
My Waltz (for Judy) Jason Foureman
I wrote this song in 1998 while in college. It is dedicated to Judy Luxford who
was my high school English teacher for my junior year. She has always
been a source of encouragement, advice, and wisdom for me and my wife.
We still talk regularly.
Dolphin Dance Herbie Hancock
This piece was written in 1965 for the ground breaking album "Maiden
Voyage." "Dolphin Dance" is a complex and interesting tune that combines
elements of mode mixture and pedal points. These compositional devices
culminate to achieve an effect of musical cohesiveness despite the tune's
complexity.
But Beautiful Jimmy Van Heusen
Van Heusen wrote this beautiful song in 1947 with Johnny Burke having
penned the haunting lyric. It is no surprise that this masterpiece has
become a favorite with many jazz musicians.
Joy Spring Clifford Brown
This is a song from the BeBop era that has become a jazz standard. It
contains complex chord progressions, sudden modulations, substitutions
and a lot of chords. All of these traits are indicative of the BeBop style
including the virtuoso-like melody.
Five Bill Evans
"Five" derives its title from the polyrhythm that makes up the melody in
the A sections; five against four. The bridge consists of the polyrhythm four
against three. The chord progression is standard rhythm changes.
JaKUB'S WlLDFLOWERS JaSON FoUREMAN
I wrote this tune for one of my best friends, Jakub Pucilowski, whom I have
known since high school. Jakub possesses a singular personality and
intellect, the likes of which I have never seen duplicated. He always comes
up with insights and ideas as if they were nothing, and one day I said to
him: "Man, your thoughts spring up like wildflowers". And that concept
stuck with me as I wrote the tune. The form can be viewed as an interrupted
E minor vamp.
Hi-Fly Randy Weston
"Hi-Fly" is undoubtedly Randy Weston's most recognized tune. Weston
(who is 6'8") wrote this song as a tale of being his height. The heavily
syncopated melody and seamless chord progression have made this song
a joy to play for generations.
Upcoming Events at the School of Music
(All events are admission free and field in Margaret Comstock Concert Hall,
unless otherwise noted. Events are subject to change.)
Tuesday. March 28 - 8:00 p.m.
Faculty Jazz Ensemble
Wednesday. March 29 - 7:00 p.m.
Graduate Recital: Colin Dorman, French horn
Wednesday. March 29 - 8:30 p.m.
Student Recital: Don Johnson, trumpet
Thursday. March 30 - 3:00 p.m.
Masterclass: Douglas Yeo, trombone. Yeoisthebasstrombonistforthe
Boston Symphony Orchestra and currently teaches at the New England Con¬
servatory of Music. He has also served on the faculty of the Peabody
Conservatory of Music, and was previously a member of the Baltimore
Symphony Orchestra.
Thursday. March 30 - 7:00 P.m,
Graduate Recital: Rebecca von Kamp, soprano. The program will feature
Edvard Grieg's "Sechs Lieder," Ned Rorem’s "Cycle of Holy Songs, and
selections from Jake Heggie’s "Eve-Song" in addition to works by Scarlat ,
Mozart, Bizet, and Saint-Saens.
U of L Music Concert Line
PH: 502-852-0524
music.lbuisville.edu
School of
music
IMVERSITY of IOUEMLLE
dare to be great
presents
Louisville Winds
Kathleen Karr, flute
Leanna Booze, oboe
Dallas Tidwell, clarinet
D. Bruce Heim, horn
Matthew Karr, bassoon
with
Krista Wallace-Boaz, piano
Monday Evening
March 27, 2006
5:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Above the Wind
for flute, bassoon, horn and piano
PaulBasler
(b. 1963)
Quintet for Winds (1978)
Intrada
Intermezzo
Romanza
Scherzo
Finale
John Harbison
(b. 1938)
Sextuor for Woodwind Quintet
and Piano (1932-39)
Allegro vivace
Divertissement
Finale
Francis Poulenc
(1899-1963)
Louisville Winds
Kathleen Karr, flute Dallas Tidwell, clarinet
Leanna Booze, oboe D. Bruce Heim, horn
Matthew Karr, bassoon
Louisville Winds is the resident woodwind faculty ensemble of the
University of Louisville School of Music. The ensemble benefits
from decades of chamber music experience, its members having
performed both nationally and internationally. They continue a
tradition started in the 1970s of performing the standard quintet
repertoire as well as commissioning and premiering new works.
School of
music
INIVERSITYof I DUISVILLE ,
dare to be great
presents
Quartet for the
End of Time
J. Patrick Rafferty, violin
Stephen Cohen, clarinet
Carlton McCreery, cello
James Howsmon, piano
Monday Evening
March 27, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Quatuor pour la fin du temps
1. Liturgie de cristal
(Liturgy of Crystal)
Olivier Messiaen
(1908-1992)
2. Vocalise pour l'ange qui annonce la fin du temps
(Vocalise for the Angel Who Announces the End of Time)
3. Abime des oiseaux
(Abyss of the Birds)
4. Intermede
(Interlude)
5. Louange a l'etemite de Jesus
(Praise to the Eternity of Jesus)
6. Danse de la fureur pour les sept trompettes
(Dance of Fury for the Seven Trumpets)
7. Fouillis d'arcs-en-ciel pour l'ange qui annonce la fin
du temps
(A Mingling of Rainbows for the Angel Who Announces
the End of Time)
8. Louange a l'immortalite de Jesus
(Praise to the Immortality of Jesus)
J. Patrick Rafferty, violin
Stephen Cohen, clarinet
Carlton McCreery, cello
J antes Howsmon, piano
PROGRAM NOTES
In 1940, Olivier Messiaen (1908-92) was interned in a German prison camp,
where he discovered among his fellow prisoners a clarinetist, a violinist
and a violoncellist. The success of a short trio which he wrote for them led
him to add seven more movements to this Interlude, and a piano to the
ensemble, to create the Quartet for the End of Time. Messiaen and his friends
first performed it for their 5000 fellow prisoners on January 15,1941.
If the plain facts of the work's origins are simple, the spiritual facts are far
more complex. Messiaen's religious mysticism found a point of departure
for the Quartet in the passage in the Book of Revelation (Chapter 10) about
the descent of the seventh angel, at the sound of whose trumpet the mystery
of God will be consummated, and who announces "that there should be
time no longer."
According to the composer, the Quartet was intended not to be a commen¬
tary on the Apocalypse, nor to refer to his own captivity, but to be a kind
of musical extension of the Biblical account, and of the concept of the end
of Time as the end of past and future and the beginning of eternity. For
Messiaen there was also a musical sense to the angel's announcement. His
development of a varied and flexible rhythmic system, based in part on
ancient Hindu rhythms, came to fruition in the Quartet, where more or less
literally Messiaen put an end to the equally measured "time" of western
classical music.
The architecture of the Quartet is both musical and mystical. There are
eight movements because God rested on the seventh day after creation, a
day which extended into the eighth day of timeless eternity. There are
intricate thematic relationships, as for example between movements two
and seven, both of which are about the angel; and stylistic and theological
relationships, as between movements five and eight.
■Elaine Chew
In a preface to the score, Messiaen commented on each of the movements:
Liturgy of crystal. Between three and four o'clock in the morning, the
awakening of the birds: a blackbird or a solo nightingale improvises,
surrounded by efflorescent sound, by a halo of trills lost high in the trees...
Vocalise for the Angel who announces the end of Time. The first and third
parts (very short) evoke the power of this mighty angel, a rainbow upon
his head and clothed with a cloud, who sets one foot on the sea and one foot
on the earth. In the middle section are the impalpable harmonies of heaven.
In the piano, sweet cascades of blue-orange chords, enclosing in their
distant chimes the almost plainchant song of the violin and violoncello.
Abyss of the birds. Clarinet alone. The abyss is Time with its sadness, its
weariness. The birds are the opposite to Time; they are our desire for light,
for stars, for rainbows, and for jubilant songs.
Interlude. Scherzo, of a more individual character than the other move¬
ments, but linked to them nevertheless by certain melodic recollections.
Praise to the Eternity of Jesus. Jesus is considered here as the Word. A broad
phrase, infinitely slow, on the violoncello, magnifies with love and rever¬
ence the eternity of the Word, powerful and gentle,... "In the beginning was
the Word, and Word was with God, and the Word was God."
Dance of fury for the seven trumpets. Rhythmically, the most characteristic
piece in the series. The four instruments in unison take on the aspect of
gongs and trumpets (the first six trumpets of the Apocalypse were fol¬
lowed by various catastrophes, the trumpet of the seventh angel an¬
nounced the consummation of the mystery of God). Use of added [rhyth¬
mic] values, rhythms augmented or diminished... Music of stone, of formi¬
dable, sonorous granite...
A mingling of rainbows for the Angel who announces the end of Time.
Certain passages from the second movement recur here. The powerful
angel appears, above all the rainbow that covers him... In my dreams I hear
and see a catalogue of chords and melodies, familiar colours and forms...
The swords of fire, these outpourings of blue-orange lava, these turbulent
stars...
Praise to the Immortality of Jesus. Expansive solo violin, counterpart to the
violoncello solo of the fifth movement. Why this second encomium? It
addresses more specifically the second aspect of Jesus, Jesus the Man, the
Word made flesh... Its slow ascent toward the most extreme point of
tension is the ascension of man toward his God, of the child of God toward
his Father, of the being made divine toward Paradise.
-Olivier Messiaen
BIOGRAPHIES
J. Patrick Rafferty, violin
Violinist J. Patrick Rafferty has been hailed for his "exciting performances,"
his "subtle and imaginative ideas about the music," and "a velvety,
sweetly sonorous tone [that] captured the intellect and calmed the soul"
(.Milwaukee Sentinel). Rafferty's solo credits include concerto performances
with the symphony orchestras of Milwaukee, Dallas, Cincinnati, and St.
Louis. In addition, he has appeared as soloist with the Dallas Bach
Orchestra, the Dallas Chamber Orchestra, the Dallas Fine Arts Orchestra,
the Brevard Music Center Orchestra, the Cincinnati Symphony Chamber
Orchestra, and many others, with over 40 works performed.
J. Patrick Rafferty served as Concertmaster of the Milwaukee Symphony
Orchestra from 1986 to 1991. He previously served as Associate
Concertmaster of the Dallas Symphony for eight years, and as
Concertmaster for the Dallas Bach and Fine Arts Orchestras. As recitalist,
Rafferty has performed in New York, Chicago, Boston, Washington, D.C.,
Cincinnati, Atlanta, Miami, Nashville, Orlando, and many other cities.
An accomplished chamber music performer as well as an acclaimed solo
and orchestral artist, violinist J. Patrick Rafferty joined the internationally-
acclaimed Louisville String Quartet in 2005 as first violinist. He also
maintains commitments with the Cadek Trio, whom he joined in 1991. His
national reputation as an outstanding chamber musician has been built on
his association with such ensembles as the New Marlboro Chamber
Players, the American Chamber Trio, the Fine Arts Chamber Players, the
Dallas Chamber Orchestra, and the Walden Chamber Players.
While maintaining his active performance schedule, Rafferty has
successfully built a respected teaching career. He has taught at the
Wisconsin Conservatory, the University of Wisconsin-Milwaukee, the
University of Alabama, and is now Associate Professor of Violin at the
University of Louisville. He is also on the summer artist faculty of the
Brevard Music Center in North Carolina, where he is concertmaster of the
Brevard Music Center Orchestra.
Stephen Cohen, clarinet
BM, Oberlin College. Former principal clarinetist and featured soloist with
New Orleans Symphony, later known as Louisiana Philharmonic Orches¬
tra. Member, Brevard Music Center Orchestra. Tours with the Texas Opera
Theater and the Seoul Philharmonic Orchestra. Regularly performs each
summer as principal clarinet at the Brevard Music Center. Solo recitals
throughout the U.S., Europe and Korea. Guest artist, Seoul Philharmonic
Clarinet Festival and Idaho/Montana Clarinet Symposium. Former mem¬
ber, Timm Wind Quintet. Studied with Loren Kitt, Larry McDonald, Karl
Leister, and Robert Marcellus. Former faculty, Cincinnati College-Conser¬
vatory of Music, Louisiana State University, Loyola (LA) University and
Tulane University. Artist/clinician for Buffet clarinets. Legere reed artist.
Written articles for Clarinet magazine.
Carleton McCreery, cello
Director of the University Symphony Orchestra and member of the Cadek
Trio. M.M., University of Michigan; B.M., Bowling Green State University.
Conducting studies with Elizabeth A.H. Green and Karl Melles. Studied
with noted cellists Gregor Piatigorsky, Antonio Janigro, and Lynn Harrell.
Artist-Faculty and Principal Conductor of the Repertory Training Orches¬
tra at the BrevardMusic Center. University of Alabama faculty member
since 1985.
James Howsmon, piano
Education: B.M., University of North Carolina, 1976; M.M., Eastman School
of Music, 1978. Piano study with George Kiorpes, David Burge. Collabora¬
tive study with Samuel Sanders, Charles Reiner. Chamber music study
with Luise Vosgerchian, Frank Glazer. Performances: Over 500 collabora¬
tive performances in Nor th America and Europe. Professional Affiliations:
Visiting professor, Minnestoa State University, Winona, 1992-93. Faculty
member, MacPhail Center for the Arts (Minneapolis), 1991-93. Conductor,
MacPhail Chamber Orchestra, 1991-93. Dean and administrative director.
The Quartet Program, 1984-90. Member, Pi Kappa Lambda. Recordings:
Recordings on Numberica Edition, Ltd. and SKREF.
School of
music
LNWERSITY of IOUISVILLE
dare to be great
presents
Faculty Jazz
Concert
for the
Father Vernon Robertson
Scholarship Fund
Tuesday Evening
March 28, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event offire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
To Be Selected from the Following:
Invitation
Bronislau Kaper (1902-1983)
Paul Francis Webster (1907-1984)
arr. Jerry Tolson
Boplicity
Cleo Henry
Tangerine
Victor Schertzinger (1890-1941)
Johnny Mercer (1909-1976)
Afro-Centric
Joe Henderson (1937-2001)
Ugly Beauty
Thelonious Monk (1917-1982)
How Insensitive
Antonio Carlos Jobim (1927-1994)
Monk's Dream
Thelonious Monk
Santo Antonio
Hermeto Pascoal
Skillet Fries
Jerry Tolson (b. 1954)
Faculty Jazz Ensembles
John La Barbera, trumpet
Jerry Tolson, alto saxophone, vocals
Mike Tracy, tenor saxophone
Jim Connerley, piano
Craig Wagner, guitar
Chris Fitzgerald, bass
Tyrone Wheeler, bass
Jason Tiemann, drums
Father Vernon Robertson
The Reverend VemonRobertson was ordained as a Catholic
priest in 1967 and began his career in Louisville's West End,
dedicating his life to the church's urban mission. He founded the
Urban Montessori Schools, opened the city's first residence for
people with AIDS and led the restoration of St. Martin of Tours
Church in downtown Louisville, where he served as pastor for
fifteen years. Father Robertson's Afro-German Tearoom was a
restaurant he opened to serve the downtown neighborhood's
diverse ethnic makeup. He also turned St. Philip Neri in Old
Louisville into aneighborhood center and chapel (nowaMontessori
school and Salvation Army Boys and Girls Club).
In addition to being a highly influential benefactor for
many disenfranchised individuals in our area. Father Vernon
Robertson loved jazz and all that itrepresents. He was a catalyst,
helping to insure the presence and growth of the Jazz Program at
the University of Louisville School of Music. He remained a
committed supporter of our efforts until his passing in 1998. The
jazz faculty presents the annual Father Vernon Robertson Jazz
Scholarship Concert in his honor. Through this scholarship, we
intend to keep alive his commitment to supporting deserving
young people and his love of jazz.
School of
music
IMVERSITYoJ IDUISVILLE
dare to be great
presents
Colin Dorman, horn
student of Bruce Heim
with
Jessica Litwiniec , piano
Graduate Recital
Wednesday Evening
March 29, 2006
7:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Serenade for horn and piano
Berceuse, Op. 19
Horn Concerto No. 2 in E-flat Major
Allegro
Andante con moto
Rondo - Allegro molto
INTERMISSION
Espaha from Pieces for Solo Horn
Pavane Variee
Fantasie iiber den Sehnsuchtswaltzer
von Schubert
PaulBasler
(b. 1963)
Jean-Michel Damase
(b. 1928)
Richard Strauss
(1864-1949)
Vitali Buyanovski
(1928-1993)
Jean-Michel Damase
Franz Strauss
(1822-1905)
This recital is given in partial fulfillment of the requirements
for the Master of Music degree.
PROGRAM NOTES
Paul Basler (b. 1963) is currently a Professor of Music at the
University of Florida in Gainesville. Both an accomplished hornist and
composer, his compositions have been performed throughout the world,
and he has performed in many International Horn Society workshops as
a guest artist. Mr. Basler was also a Fulbright Senior Lecturer in Music at
Kenyatta University (Nairobi, Kenya) in 1993-94. He was named the 1995-
96 University of Florida Teacher of the Year.
His Serenade for horn and piano was written in 1997. In the words
of the composer, this piece is
"about flight/travel/motion/new opportunities/closing
chapters and opening new doors, defining the moment at
which it was written. While the surface appears light and
breezy (and it is to a certain extent), the piece contains deep
spiritual and personal messages - of completion and
anticipation."
It opens with piano and horn in a fast 6/8 meter, which gives the
feeling of flight, before the music slows to a more subdued and melancholy
section. This section soon gives way to rapid tempo changes and an
unsettled 5/8 section, which then leads back into the previous subdued
melody. This brings us back to the opening 6/8 section, and closes the piece.
Jean-Michel Damase (b. 1928) began studying at the Paris
Conservatoire at the age of thirteen, and two years later had won the premier
prix in piano. In 1945, he began studying composition under Henri Busser,
and won the first prize in composition in the Conservatoire two years later
with his piece for wind quintet. Damase has composed five works for horn
and piano.
His Berceuse, Op. 19, or "lullaby," is written in a three-part form
(ABA). Written in 1951, it is a tonal work with many modulations, which
create a very lyrical and flowing melody well suited to the horn.
Richard Strauss (1864-1949) began hearing the horn at an early
age, his father Franz Strauss was an accomplished horn player. It is no
surprise, then, that many of Strauss' compositions, such as the tone poems
Don Juan, Till Eulenspiegel, Ein Heldenleben, and the operas Salome, Elektra and
Der Rosenkavalier have prominent and difficult horn parts. His works for the
horn as a solo instrument consists of two concertos, two Etudes (unpub-
lished), a Theme and Variations, Andante for horn and piano, and Ein Alphom
hor ich schallen for horn, soprano, and piano.
His Horn Concerto No. 2 was written near the end of his life, during
1941-42, which contrasts with his first horn concerto written when he was
just 19. The second horn concerto was premiered at the Salzburg Festival
on August 11,1943 by Gottfried von Freiberg and the Vienna Philharmonic
Orchestra conducted by Karl Bohm. This work is similar in its chromatic
syle and melodic textures to many of Strauss' later works. Although the
horn is the soloist, Strauss also uses it at times as a member of the orchestra.
The concerto is in three contrasting movements, of which the first
is not in the expected sonata-allegro form. It opens with a fanfare and a
short cadenza for the soloist, before the horn and orchestra join forces in
a very lyrical, flowing section. This is followed by a faster, more active
section, where the horn is alternately both soloist and a member of the
orchestra. A slower, cantabile section links the first movement with the
second, which is marked andante con moto. Here, we find an excellent
example of Strauss giving the soloist both supporting and soloistic roles.
This movement is in ternary form, with the B section being faster and more
agitated before the music returns to the opening andante. In the tradition
of Mozart's horn concertos, the third movement is a 6/8 rondo (which is also
true of Strauss' first horn concerto). It is playful and lively, and its primary
thematic element is a syncopated eighth-note figure, which is occasionally
interrupted by more flowing melodies in both the horn and orchestra.
Vitali Buyanovski (1928-1993) studied horn under his father
Mikhail at the Rimsky-Korsakov Conservatoire in St. Petersburg. After
completing his studies, he played at the Mariinsky Theater until 1953,
which he left in order to play principal horn with the Shostakovich
Philharmonia, where he did so for twenty-five years. At the Philharmonia
he organized a wind quintet, as well as series of concerts containing all of
the Mozart wind concertos and all of the Beethoven compositions for wind
instruments and various other chamber groups. Also a composer,
Buyanovski wrote music for the horn as well as for various other instru¬
ments, and for the stage.
"Espana" is from a collection of horn pieces (Pieces for Solo Horn)
written by Buyanovski that was inspired by his travels to different lands.
This piece, representing Spain, begins with three different church bells.
The next section begins with castanets, which accelerate to a dramatic
trumpet-like call. The recitative section that follows begins timidly but
quickly grows bolder and more impassioned. Following a short castanet
interlude, the trumpet call returns, this time leading us to a dance-like
section in triple meter. Here, we have another brief moment of castanets
before coming to a second, much more passionate cadenza, which makes
no timid pretenses. This leads us into the final section, introduced by
guitar-like music, which then alternates between the trumpet-calls and
the arpeggiated guitar chords, before the final, frenzied guitar ending.
The second of Damase's works for horn and piano, Pavane Variee,
was written in 1992, forty-one years after the completion of his Berceuse Op.
19. Though faster, and slightly more technical for both players than the
Berceuse, this piece still relies heavily on the cantabile powers of the horn
and not on virtuosity.
Franz Strauss (1822-1905) is probably best remembered today for
being the father of Richard Strauss. In his day, he was well known as both
a composer and a virtuoso horn player. A musical conservative, he was
the principal horn in the Royal Bavarian Court Orchestra of Munich, and
played in the premiers of many important works by Wagner, including
Tristan and Isolde (1865), DieMeistersinger (1868), Das Rheingold (1869), and Die
Walkiire (1870). While he and Wagner did not agree on the state of the new
music of the day, Wagner is quoted as saying, "Strauss is an unbearable,
curmudgeonly fellow, but when he plays his horn one can say nothing, for
it is so beautiful." Strauss was an important composer for his instrument:
he wrote a concerto and many smaller pieces for horn and piano.
F. Strauss' Fatitasie iiber den Sehnsuchtswaltzer [longing waltzes]
von Schubert consists of a theme and variations based on Schubert's
"Trauerwalzer" [Mourning waltz] from the Op. 9 collection of waltzes.
The opening adagio is unrelated to the theme, but would give Strauss ample
opportunity to show off his smooth legato phrasing. The theme is followed
by two variations of increasing virtuosity, and then a contrasting andante
section, in which the piano accompaniment mimics the arpeggiated chords
of a guitar. The following “rondo russien” section is thematically unrelated.
It then leads directly into the final piu mosso, which gave Strauss an outlet
to show off his incredible virtuosity with the valved horn.
Don Johnson, Trumpet
Sinfonia in D
Triptyque
Allegro
Concerto in Eb
Allegro
Largo
Vivace
And
Debbie Dierks, Piano
March 29 th , 8:30 pm
Comstock Hall
Giuseppe Torelli
Edited by E. H. Tarr
Henri Tomasi
Intermission...
Gottfried Reiche
J.B.G Neruda
Edited by David Hickman
Solo de Concours
Theo Charlier
School of •
music
UNIVERSITY of lOJISVILLE
—' -
dare to be great
Thursday, March 30, 2006 Convocation
3:00 p.m.
Margaret Comstock Concert Hall
Sonata in A-flat Major, Op. 26 Ludwig van Beethoven
IV. Allegro (1770-1827)
Virginie Achim, piano
MUS 414 / Oliphant
Trauermusik
Monica Clarke, viola
MUS 203 / Hofman
Mary Ann Mattingly, piano
Paul Hindemith
(1895-1963)
Dal tuo gentil sembiante
from Ascanio in Alba
Amanda Tarryn Bryant, soprano
MUS 312 / Everette
Mary Ann Mattingly, piano
W. A. Mozart
(1756-1791)
Trois pieces pour flute
Bergere captive
Pierre Octave Ferroud
(1900-1936)
Heather McCullum , flute
MUS 312 / K. Karr
Symphonie Espagnole, Op. 21
Allegro non troppo
Sowmya Srinivasan, violin
MUS 412 / Rafferty
John Hernandez, piano
Edouard Lalo
(1823-1892)
IMVERSIIYof I0UBVILLE
" "- ---
dare to be great
Douglas Yeo
Masterclass
March 30,2006
3 PM
Bird Recital Hall
Bass trombonist of the Boston Symphony Orchestra since 1985, Douglas Yeo is a
respected performer, teacher, writer and conductor. His multi-faceted musical life ranges
from performances on historical brasses (serpent, ophicleide and bass sackbut) to playing
concertos by John Williams and Chris Brubeck with the Boston Pops Orchestra. A
faculty member at Boston's New England Conservatory of Music, Douglas worked
closely with Yamaha in the development of the YBL-622 bass trombone and the Yamaha
Douglas Yeo Signature Series Bass Trombone Mouthpiece. Douglas Yeo has been a
Yamaha artist since 1992. Music students from around the globe have benefited from
Douglas Yeo's generosity with his musical brilliance.
Yamaha website “Douglas Yeo,” accessed 30 March 2006.
Made possible by the generous support of Yamaha and the University of Louisville
Trombone Association
School of
music
IMVERSITYof IOUISVILLE.
dare to be great
presents
Brian Koning,
trumpet
student of John La Barbera
Graduate Recital
Thursday Evening
March 30, 2006
9:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Hi Heel Sneakers
Robert Higginbotham
(1934-1982)
Tangerine
Victor Schertzinger (1880-1941)
lyrics by Johnny Mercer (1909-1976)
The Vibe
Roy Hargrove
(b. 1969)
Dig
Miles Davis
(1926-1991)
Eutropia
Brian Koning
(b. 1977)
Bitter Batter
Brian Koning
Additional performers
Sam Farley, piano
Jason Foureman, bass
Dan Dorff, drums
Matt Yarborough, trombone
Alexis Marsh, saxophone
Greta Honaker, voice
Chris Kozak, bass
This recital is given in partial fulfillment of the requirements
for the Master of Music degree.
PROGRAM NOTES
Hi Heel Sneakers Robert Higginbotham
This classic piece has been covered by a multitude of performers over the
years, such as Janis Joplin, Paul McCartney, and Elvis Presley. It was
adapted to the instrumental jazz medium by the trumpeter Blue Mitchell
on his album, "Down With It!" This arrangement closely emulates Mitchell's
version, and provides the perfect vehicle for spirited bluesy interaction
between the horn players and the rhythm section.
Tangerine Victor Schertzinger; lyrics by Johnny Mercer
Originally featured in the movie "The Fleet's In," this standard reached the
zenith of its popularity with a famous recording showcasing Helen
O'Connell and Bob Eberly with the Jimmy Dorsey Orchestra. Tonight it
showcases the vocal stylings of Ms. Greta Honaker.
The Vibe Roy Hargrove
This modern jazz piece is the title track from the trumpeter Roy Hargrove's
fourth album. "The Vibe" incorporates elements of modalism and blends
parts of New Orleans style streetbeat rhythms with hip hop. This arrange¬
ment stays true to the original recording with an initial trumpet and alto
statement which is followed immediately by infectious grooves.
Dig Miles Davis
A popular contrafact of the standard "Sweet Georgia Brown," Dig was
originally recorded in 1951 by Miles Davis on an album of the same name.
The jagged bebop lines provide a perfect setting for the trumpet and
trombone.
Eutropia Brian Koning
This piece is a musical depiction of the shimmering dreamlike nature of
Eutropia Court. This is a sixty-four bar ballad in the style of ECM label jazz
releases of yesteryear. In this incarnation the melody is traded between
horn players, finally giving way to sparse soloistic interplay amongst the
rhythm section.
Bitter Batter Brian Koning
The title of this piece is a play on words of the title "Pitter Patter. This
modal latin piece is also a contrafact of the jazz standard So What. Lush
horn voicings in the melody contrast a continuous syncopated bassline in
the piano and bass.
School of
music
INTVERSITY of IDUISVILLE
dare to be great
presents
Heather McCullum
flute
student of Kathleen Karr
with
Deborah Dierks, piano
Student Recital
Thursday Evening
March 30, 2006
8:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonate II from Six Sonatas for Flute and Piano J. S. Bach
Allegro moderato (1685-1750)
Siciliano
Allegro
Duo for Flute and Piano
I. Flowing
Aaron Copland
(1900-1990)
Trois Pieces pour flute
I. Bergere captive
II. Jade
Pierre Octave Ferroud
(1900-1936)
INTERMISSION
Kokopeli for Solo Flute
Katherine Hoover
(b. 1937)
Sonatina for Flute and Piano
I. Allegro grazioso
II. Andantino sognando
III. Allegro giocoso
Eldin Burton
(1913-1979)
UWERSITYqf IDUISVILLE
” - -—
dare to be great
presents
Rebecca von Kamp
soprano
student of Edith Davis Tidwell
with
David George, piano
and
Penelope Beard , flute
Charlie Patton, cello
Graduate Recital
Thursday Evening
March 30, 2006
7:00 p.m.
Margaret Comstock Concert Hall
j of recording devices
an
PROGRAM
Cantata 582
"Solitudine avenne'
Alessandro Scarlatti 1
(1659-1725)
Vado, ma dove? K. 583
Wolfgang Amadeus Mozart
(1756-
UAttente
La Cloche
Chanson d' Avril
Adieux de l'hotesse Arabe
Sechs Lieder, Op. 48
Gruss
Dereinst, Gedanke mein
Lauf der Welt
Die verschwiegene Nachtigall
Zur Rosenzeit
Ein Traum
PAUSE
from Cycle of Holy Songs
Psalm 134
Psalm 142
Psalm 148
from Eve-Song
Good
Even
The Farm
Camille Saint-Saens
(1835-1921)
n
6
Georges Bizet
(1838-1875)
olo
m
Ibac
Edvard Grieg
dai
(1843-1907) pp
jam
iiton
lna>
lelir
)is'
ten
Ned Rorem »
(b. 1923)
Jake Heggie
(b. 1961)
This recital is given in partial fulfillment of the requirements for the Master of Music degree.
TEXTS AND TRANSLATIONS
JTATA 582 , SOLITUDINE AVENNE (LOVELY SCENES)
•ssandro Sccivlatti)
tudine avenne, apriche collinotte, ombrose valli.
Uptempo di diletto, amiche scene
I'teatro di duolo al guardo mio.
la voi non pretendo
on desio conforto al duol che sento,
^gni vostra delizia e mio tormento;
i gia che voi non siate
iiii vaghe e piii ornate
gni erbetta, piu ridente,
• voi siete piix belle,
"piu dolente.
I
yi miro ancor vestite
For vaghi e d'erba alterra e di pinte,
^orite dall' amante primavera.
(
nno a gara venticelli
laciar le vostre frondi
..lan legge i bei ruscelli dale ninfe ai crini biondi.
H|
;i purtra voi non trovo quel sollievo ch'io bramo
ante pene e in voi pur cerco
ion ritrovo Irene.
la volta eri tu solo,
1 mio duolo gran conforto o vago rio.
: s'accresce il mio tormento
entre sento il suo flebil mormorio.
ADO, MA DOVE? (I GO, BUT WHERE?)
orenzo da Ponte )
ido, ma dove? Oh Dei!
de' tormenti suoi,
de' sospiri miei
'n sente il ciel pieta!
che mi parli al core,
lida i miei passi, amore;
quel ritegno or togli
ie dubitar mi fa.
Alessandro Scarlatti
Lovely scenes, sunkissed hills, dark valleys.
Once the scenes of pleasures
But now the theatre of grief.
I do not wish to pretend
and I do not desire consolation from the sorrow I feel
in your delights from my torments;
Now already you are
more beautiful and more ornate
your bowers are more green, and your flowers are smiling.
But as you have become more beautiful
I have become more saddened.
I want to be dressed like you
In flowers and painted
In the colors of fond Spring.
They compete
to kiss your branches
and the beautiful streams of the nymphs with blonde hair.
But between you I do not find the relief
that I covet and with many pains
I do not find Irene.
Once you alone were my release,
My grand comfort, o graceful river.
Now my torment increases
while I hear your sweet rippling.
Wolfgang Amadeus Mozart
I go, but where? Oh God!
For my beloved's pains.
For my tormented sighs.
Heaven does not have pity!
You who talk to my heart,
Guide my steps. Love;
You counsel me to stay faithful
Or do I doubt my love.
Yitente (Anticipation)
ctor Hugo)
3n te, ecureuil, monte au grand chene,
r la branche des cieux prochaine,
^ plie et tremble comme un jonc.
jOgne, aux vieilles tours fidele,
■ v°le! et monte a tire-d'aile
1 eglise a la citadelle,
haut clocher au grand donjon.
!ux a igle, monte de ton aire
Camille Saint-Saens
Squirrel, ascend the towering oak.
To the branch right next to the sky
Bending and trembling like a reed.
Stork, faithful to the ancient towers.
Swiftly ascend and wing your way
From the church to the citadel.
From lofty steeple to mighty keep.
Old eagle, ascend from your eyrie
Whitened by eternal winter.
And you* whom in your unquiet nest.
Dawn never once saw silent -
Joyous lark, ascend, ascend,
- Ascend Into the sky!
\ la montagne centenaire
lue bianchit rhiver eiemel;
it to! qu'en ta couche mquiete
Jamais I'aube ne vit mueiie,
Monte, monte, vive alouette,
Vive alouette, monte au cteL
Etmi.inlenant.duhautderartae,
Des fleehes de la tour de marnre, ^
Du grand moot, du del enflamme,
A 1'horizon, parmi la brume,
Voyez-vous flatter une plume,
Et courir un cheval qui fume,
Et revenir ma bien-aimee?
La Cloche
(VkterHugo)
Seule en ta sombre tour aux Mies den teles,
ETou ton souffle descend sur les torts ebrames,
O cloche suspendue au milieu des nuees,
p ar ton vaste roulis si souvent remuees, ^
Tii dors en ce moment dans I ombre, et rien ne ui
Sous ta voute protonde oil sommeiBe le bruit!
Oh! Tandis qn un esprit qui jusqiTa foi srelance,
Silencieux sussi contemple tan silence,
Sens-tu, par cet instinct vague et plein de douceur
Qm revele loujours une soeur a la soear
Qu'a cette heure cm s'endort la soiree expirante,
Une ame est pres de toi, non moins que toi vibrante,
Qui bien souvent aussi jette un bruit solennel,
Et se plaint dans l'amour comme toi dans le ciel!
Chanson d'Avril (April Song)
(Louis Bouilet)
Leve-toi! leve-toi! le printemps vient de naitre!
La-bas, sur les vallons, flotte un reseau vermeil!
Tout frissonne au jar din, tout chante et ta fenetre,
Comme un regard joyeux, est pleine de soleil!
Du cote des lilas aux touffes violettes,
Mouches et papillons bruissent a la fois
Et le muguet sauvage, ebranlant ses clochettes,
A reveille l'amour endormi dans les bois!
Puisqu'Avril a seme ses marguerites blanches,
Laisse ta mante lourde et ton manchon frileux,
Deja l'oiseau t'appelle et tes soeurs les pervenches
Te souriront dans l'herbe en voyant tes yeux bleus!
Tens, partons! au matin, la source est plus limpide;
,eve-toi! viens, partons!
I'attendons pas du jour les brulantes chaleurs;
; veux mouiller mes pieds dans la rosee humide,
t te parler d'amour sous les poiriers en fleurs.
And now, from the high tree-top.
From the spires of the marble tower.
From the great mountain, from the flaming sky,
On the sky-line, in the mist.
Can you see a bobbing plume,
A hurtling, fuming horse - and then
My beloved once again?
The Bill
Alone in your dark tower of serrated shingles,
From where your breath descends onto weakened rooftops,
O hell, suspended in the midst of the clouds
That are so often stirred by your vast rolling
You presently sleep In the shadow, and nothing gleams
Under your deep vault where sound lies dormant!
Oh! While a spirit who thrusts itself towards you,
Also silent, contemplates your silence,
Do you feel, by this vague instinct full of gentleness
That always reveals one sister to another.
That in this hour where the dying evening dozes,
A soul is near you, one who is no less vibrant than you are,
Who, too, often casts out a solemn sound.
And cries out in love as you do in the sky!
Georges Bizet
Get up! Get up! Spring has just been bom!
Over those valleys a rosy mist is floating!
Everything in the garden trembles and sings; your win
is full of sunshine, like a joyful gaze. .
Around the bunches of purple-flowering lilac
butterflies and bees flutter and hum together,
and the little shaking bells of lily-of-the-valley
have woken up Eros who was sleeping in the woods
Now that April has scattered its white daisies,
go without your heavy cloak and cold-weather mu
The birds are already calling you, and your sister periwin
will smile in the grass when they see your blue eyes
Let's get going! The stream is clearer in early mornn
Get up! Come on, let's go!
Let's not wait for the day's burning heat.
I want to wet my feet in the moist dew
and talk to you of love under the blossoming pear
3IEUXDE L'HOTESSE ARABE
ictor Hugo)
tisque rien ne t'arrete en cet heureux pays,
il'ombre du palmier, ni le jaune mais,
I i e repos, ni l'abondance,
: de voir a ta voix battre le jeune sein
e nos soeurs, dont, les soirs,
tournoyant essaim
; guronne un coteau de sa danse,
dieu, beau voyageur, helas,
h! que n'es-tu de ceux
ui donnent pour limite a leurs pieds paresseux
eur toit de branches ou de toiles!
ui, reveurs, sans en faire, ecoutent les recits,
tsouhaitent, le soir, devant leur porte assis,
e s'en aller dans les etoiles!
i tu l'avais voulu, peut-etre une de nous,
I jeune homme, eut aime te servir a genoux
5 l| ians nos huttes toujours ouvertes;
lie eut fait, en bergant
>n sommeil des ses chants,
15 our chasser de ton front les moucherons mechants,
1 In eventail de feuilles vertes.
*' i tu ne reviens pas, songe un peu quelquefois
,ux filles du desert, soeurs a la douce voix,
' x |ui dansent pieds nus sur la dime;
I beau jeune homme blanc, bel oiseau passager,
Duviens-toi, car peut-etre, 6 rapide etranger,
a ‘bn souvenir reste a plus d'une!
echs Lieder, Op. 48
Iruss
ieinrich Heine)
eise zieht durch mein Gemiit
iebliches Gelaute,
irdinge, kleines Fruhlingslied,
Jing hinaus ins Weite.
ieh hinaus bis an das Haus,
to die veilchen spriefien,
fenn du eine Rose schaust,
l ; Jg/ ich laR sie griifien.
Jereinst, Gedanken mein
■^Manuel Geibel )
‘ereinst, Gedanken mein,
^irst ruhig sein.
ifit Liebesglut
^ich still nicht werden,
1 kiihler Erden,
a schlafst du gut,
ort ohne Lieb' imd ohne Pein
‘ irst ruhig sein.
Farewell of the Arab Hostess
Since nothing holds you to this happy land,
neither the shade of a palm tree nor the yellow com
neither rest nor abundance
nor seeing beat at the sound of your voice the youthful breasts
of our sisters, whose dance,
like that of a hive of bees,
crowns the evening hills.
Farewell, handsome traveler. Alas!
Oh, why aren't you one of those
who limit their lazy feet
to their own roofs of branches or canvas!
Who, dreamers, listen to stories without making any,
and dream of flying away to the stars,
sitting before their doors in the evening?
Had you wished it, perhaps one of us,
young man, would have liked to serve you, kneeling,
in our huts that are always open.
She would have
lulled you to sleep
and made a fan of green leaves
to chase away the flies from your brow.
If you don't come back, think sometimes
on the desert's daughters, soft-voiced sisters
dancing barefoot on the dime.
Handsome young white man, lovely bird of passage,
remember, for perhaps, oh rapid stranger,
your memory remains in more than one of them!
Edvard Grieg
Greeting
Sweet chimes are softly
filling my soul;
Ring, little springtime-song
Ring out: far and wide.
Go forward till you reach the house,
where the violets bloom;
And if you see a rose,
give her my greetings.
One day, O my mind
One day, O my mind,
You will be at peace.
Love's ardour
will not leave you alone.
In the cool earth.
There you sleep well
and without suffering;
You will be at peace:
Was du im Leben
Nicht hast gefunden,
Wenn es entschwunden,
Wird's dir gegeben,
Darin ohne Wunden
Und ohne Pein
Wirst ruhig sein.
Laup der Welt
(Ludwig Uhland)
An jedem Abend geh' ich aus
Hinauf den Wiesensteg.
Sie schaut aus ihrem Gartenhaus,
Es stehet hart am Weg.
Wir haben uns noch nie bestellt,
Es ist nur so der Lauf der Welt.
Ich weifi nicht wie es so geschah,
Seit lange kiiss' ich sie,
Ich bitte nicht, sie sagt nicht: ja!
Doch sagt sie: nein! auch nie.
Wenn Lippe gem auf Lippe ruht,
Wir hindem's nicht, uns diinkt es gut.
Das Liiftchen mit der Rose spielt,
Es fragt nicht: hast mich lieb?
Das Roschen sich am Taue kuhlt,
Es sagt nicht lange: gib!
Ich liebe sie, sie liebet mich,
Doch keines sagt: ich liebe dich!
Die verschwiegene Nachtigall
(Walther von der Vogelweide)
Unter den Linden,
an der Haide,
wo ich mit meinem Trauten safi,
da mogt ihr finden,
wie wir beide
die Blumen brachen und das Gras.
Vor dem Wald mit suRem Schall,
Tandaradei!
sang im Tal die Nachtigall.
Ich kam gegangen
zu der Aue,
mein Liebster kam vor mir dahin.
Ich ward empfangen
als hehre Fraue,
dafi ich noch immer selig bin.
Ob er mir auch Kiisse bot?
Tandaradei!
Seht, wie ist mein Mund so rot!
Wie ich da ruhte,
wiifit' es einer,
?ehiite Gott, ich schamte mich.
Wie mich der Gute
Wnat you nave not
found in life.
When it has vanished.
Will be given to you;
Then without wounds
and without pain
you will be at peace.
The way of the world
Each evening I go out,
over the meadow-path.
She looks out from her summer house,
which stands by the pathway.
We have never questioned this,
it is just the way things are.
I don't know how it happened so,
for a long time I kiss her,
I don't ask, she doesn't say yes,
however, she also never says no.
If lips like to rest on lips,
we forbid them not, it pleases us well.
The little breeze plays with the rose,
it doesn't ask: do you love me?
The little grasses are chilled by the dew,
they don't often say: stop!
I love her, she loves me,
however neither says: I love you!
The silent nightingale
Under the lindens
on the heath
at the spot where I sat with my boyfriend
you might discover
how he and I
squashed the flowers and the grass.
From the woods came a sweet sound -
"Tandaradei!"
the nightingale singing in the valley.
I came
to the meadow;
my sweetheart had arrived before me.
He greeted me
as a noble lady
(I'm still very happy about that.)
Did he offer me kisses?
"Tandaradei!" -
See how red my lips are!
If anyone found out (God forbid!)
what happened as I lay there,
I would be deeply ashamed.
May nobody know
lerzte, keener
>rfahre das als er und ich -
ein kleines Vogelein,
fandaradei!
jas wird wohl verschwiegen sein.
Zm RosENZErr
(jdhann Wolfgang von Goethe )
[hr verbliihet, siifie Rosen,
Meine Liebe trug euch nicht;
Bliihtet, ach! dem Hoffnungslosen,
Dem der Gram die Seele bricht!
Jener Tage denk' ich trauemd,
Als ich, Engel, an dir hing,
Auf das erste Knospchen lauemd
Friih zu meinem Garten ging;
Alle Bliiten, alle Friichte
Noch zu deinen Fiifien trug
Und vor deinem Angesichte
Hoffnung in dem Herzen schlug.
Der auf erste Knospchen lauemd
friih zu seinem Garten ging,
ach der Tage denk ich trauemd,
als ich Engel an dir hing.
EinTraum
(Friedrich von Bodenstedt )
Mir traum te einst ein schoner Traum:
Mich liebte eine blonde Maid;
Es war am griinen Waldesraum,
Es war zur warmen Friihlingszeit:
Die Knospe sprang, der Waldbach schwoll,
Fem aus dem Dorfe scholl Gelaut -
Wir waren ganzer Wonne voll,
Versunken ganz in Seligkeit
Und schoner noch als einst der Traum
Begab es sich in Wirklichkeit -
Es war am griinen Waldesraum,
Es war zur warmen Friihlingszeit:
Der Waldbach schwoll, die Knospe sprang,
^elaut erscholl vom Dorfe her -
tch hielt dich fest, ich hielt dich lang
dnd lasse dich nun nimmermehr!
how the young man embraced me
except him and me -
and a little bird -
"Tandaradei!"
who will certainly keep a secret.
In the time of roses
You are wilting, sweet ros.es -
my love could not sustain you.
Bloom for hopelessness then,
for him whose soul is breaking from sorrow!
I think mournfully of those days
when I hung on you, angel,
waiting for your first little bud
and going to my garden early;
Every blossom, every fruit
I carried to your feet;
and before your countenance,
hope throbbed in my heart.
Bloom for him who waits for your first bud,
going to his garden early;
alas, I think mournfully of those days
when I hung on you, my angel.
A DREAM
I once had a beautiful dream:
I was in love with a fair-haired young woman,
we were in a green forest glade,
it was warm spring weather.
The buds were sprouting, the brook was running strong,
the sounds of the distant village could be heard,
we were full of joy,
immersed in bliss.
And even more beautiful than the dream
was what occurred in reality:
it was in a green forest glade
it was warm spring weather.
The buds were sprouting, the brook was running strong
the sounds of the distant village reached our ears -
I held you tight, I held you long,
and now will never again let you go!
D fruhlingsgruner Waldesraum!
^u lebst in mir durch alle Zeit -
^ort ward die Wirklichkeit zum Traum,
^ort ward der Traum zur Wirklichkeit!
Oh the spring-green glade
is alive in me for all time!
That is where reality became a dream.
That is where reality became a dream!
Ned Rorem
from Cycle of Holy Songs
(adapted from the Book of Psalms)
Psalm 134
Behold, bless ye the Lord,
all ye servants of the Lord,
which by night stand in the house of *e Lo d.
Lift up your hands in the sanctuary and bless the Lord.
The°Lord that made heaven and earth bless thee out of Zion.
Bless ye the Lord, all ye servants of the Lord
which by night stand in the house of the Lord.
Behold!
Psalm 142
I cried unto the Lord with my voice;
with my voice unto the Lord did I make my supplication.
I poured out my complaint before him;
I shewed before him my trouble.
When my spirit was overwhelmed within me,
then Thou knewest my path. ,
In the way wherein I walked have they privily laid a snare for me.
I looked on my right hand, and beheld,
but there was no man that would know me:
refuge failed me; no man cared for my soul.
I cried unto Thee, O Lord: I said.
Thou art my refuge and my portion in the land of the living.
Attend unto my cry; for I am brought very low:
deliver me from my persecutors; for they are stronger than I.
Bring my soul out of prison, ii'idt f may praise my name.
the righteous shall compass me about;
for Thou shall deal bountifully with me.
I cried unto the Lord;
unto the Lord did I make my supplication.
Attend unto my cry.
Psalm 148
Praise ye the Lord.
Praise ye the Lord from the heavens: praise him in the heights.
Praise ye him all his angels: praise ye him, all his hosts.
Praise ye him, sun and moon: praise him, all ye stars of light.
Praise him, ye heavens of heavens, and ye waters that be above the heavens.
Let them praise the name of the Lord:
for he commanded, and they were created.
He hath also established them forever and ever:
he hath made a decree which shall not pass.
Praise ye the Lord from the earth, ye dragons, and all deeps:
Fire, and hail; snow and vapour; stormy wind fulfilling his word:
Mountains and all hills; fruitful trees, and all cedars;
Beasts, and all cattle; creeping things and flying fowl:
Kings of the earth, and all people;
princes, and all judges of the earth:
Both young men and maidens; old men, and children:
Let them praise the name of the Lord:
for his name alone is excellent;
His glory is above the earth and heaven.
He also exalteth the horn of his people,
the praise of all his saints;
even of the children of Israel, a people near unto him.
Praise ye the Lord, praise ye the Lord.
Jake Heggie
0 ft Eve-Song
Jake Heggie)
Soo d
good Morning
jVhoever you are.
pood Morning,
jjo you have a name vet?
Let me name you.
|t must be the right name
So I don't Forget.
|What Shall I name you?
jwhat Is your name?
I have not Eaten yet.
Are you slow
Are you fleet?
Sue you obedient?
Are you Good to eat?
Almost Ev'rything is good to eat.
Good morning.
If I could I would eat the world
Because it's Good.
Even
iin the evening I am at peace.
in the evening I hear ev'rything more clearly
ev'rything to the hearer all the world does sing
with a ringing arid a quickening
overhead the birds wheel and turn
overhead the setting sun reddening
no longer burns
at the water's edge a wind brushes by me with a susurration:
grass and leaves flowers glow against the dark'ning trees
eyesight and the light both go
ev'ry evening the forest darkens
In the evening my senses sharpen
I have no peace at night
The Farm
As I recollect
It was more like a farm
Than a garden
We all worked.
It was a nice farm.
Trees. Ev'rything grew.
Good soil And plenty of water.
No, it didn't rain.
We lived by the rivers.
The Tigris and the Euphrates.
Tou might say
That's where it all started.
PROGRAM NOTES
Cantata 582, "Solitudine avenne'
Alessandro ScJi
Throuehout his prolific career Alessandro Scarlatti wrote over six hundred cantatas. The majority of these caM
were written for solo voice with continue accompaniment. The lyric poetry used in these cantatas mainly exp J
themes of love or devotional subjects, such as in this cantata where the woman speaks of the joy she once had a*
sorrow she now feels at losing love
<
... 1
"Solitudine avenne" is a cantata written for soprano with flute and continue accompaniment, one of the ten percent
Scarlatti's vocal cantatas that utilizes an instrument in addition to continuo. Composed m 1705, this cantata folk
the trends of Scarlatti's later compositions. The inclusion of recitative in the middle of the cantata is an expressiv
device used by Scarlatti to bring attention to the text. Indeed, any variation from Scarlatti's regular ABA form J
done to heighten the emotion of the poetry. The composition of repeated sections, such as the "Una volta" section]
this cantata serves to highlight the words which express the final and reigning emotion of the cantata, the desirefn
love and returned happiness.
Vado, ma dove?
Wolfgang Amadeus Mozji
Wolfgang Amadeus Mozart is a name synonymous with opera. His expressive operas still remain the most perform;
throughout the world. Mozart's concert arias, like "Vado, ma dove?" are able to stand on their own as beautiful piece (
of music, just as the arias in Mozart's operas. One reason these arias are so similar is because many of Mozart's conce: (
arias are from other operas written by different composers.
"Vado, ma dove?" was originally written for Mme. Villeneuve, the soprano playing the role of Madame Lucillar 1
Vicente Martin y Soler's II burbero di buon core (The Goodhearted Churl). Writing individual arias for other operas J 1
often a way for composers to earn extra income while working on larger compositions, so it is of no surprise tkj !
Mozart, notoriously bad with money, would have written some of these inserted arias.
Vicente Martin y Soler is a lesser known composer who worked in Vienna and Salzburg as a contemporary of Mozar. (
Vicente's main output is a series of opera buff as, which made him marginally popular during his lifetime. His fin
opera, II burbero di buon core, was written as a collaboration with his librettist, Lorenzo da Ponte. It is likely tk j
Mozart's involvement in Vicente's opera arose from his friendship and collaborations with da Ponte, the librettist fc,
many of Mozart's most famous operas, including Le nozze di Figaro and Don Giovanni.
L'Attente, La Cloche
Camille Saint-!
Saint-Saens is well-known as a contemporary of Faure and Duparc. What is not well-known about Saint-Saens ishf
composition of over two hundred songs, many of which have not yet been published. His songs are written wellfo
the voice, using simple, chromatic lines to express the graceful poetry, usually that of Lamartine, Hugo, or Banvl
For "L'Attente" and "La Cloche" Saint-Saens chooses the poetry of Victor Hugo, the most prolific of the French poet
In "L'Attente" the setting of a woman anxiously awaiting her lover's return utilizes Saint-Saens' vivid pictoral sense
The vocal line depicts storks, churches, eagles, and racing horses as the piano trembles anxiously. This use of tl«
piano is characteristic of Saint-Saens' accompaniment, using the piano to convey the mood of the piece. In "La Cloche 1
e piano is used to impart peacefulness with slow, steady lines in the right hand while a pedal D-flat is being heldi
tne bass. As the vocal line and poetry rise in intensity, so does the mood of the piano Saint-Saens' pictorial git
gr a dti a lly^floatin^away. ^ ^ 35 ^ ** voice rises pianissimo above the accompany
Chanson d'Avril, Adieux de L'hotesse Arabe
Georges 1
Mo/nf t h«p' ^ Samt_Saens ' not compose a multitude of songs, only writing about fifty during his BM
md mentr d, rin SS h Wei H Bizet was ***’ sh °wing distinct influence of Gorntod, Bizet’s »
we™L r ° d S 1US dl6S 38 3 y0lU1g man at 016 Conservatoire. Though the poetry Bizet chose was not ah
if zeT’s 3“ T I ' y S ° n ? S I' 6 Se * ViltUalIy mkn °' m P°ets - his melodies are set admirably for the vote
Itzet s songs the vorce is the star, while the piano creates the ambience of the piece
— — x u j i ^ ^ utt uucjLiucu. iiiuuu. or une
U ef n but does not equal the voice in importance. "Adieux," perhaps Bizet's best known melodic, shows the fascination
.^ih oriental subjects found throughout the art of this period. Bizet takes the text for this piece from Hugo's Orientales,
\ collection of poems describing scenes of exotic lands and their inhabitants. The scene of a native girl enticing her
•jjgver to stay uses undulating and dance-like rhythms. Heightening the emotion of the piece, Bizet instructs the final
'-' melismatic "Souviens-toi" to be sung "in a voice broken by sobs."
Sechs Lieder, Op. 48
Edvard Grieg
^ Shard Grieg is known today as the first champion of Norwegian song. Even with this impressive title his songs
I jeiaain relatively unsung. Out of the over 140 song compositions he wrote, only a handful are sung with much
§ frequency Many of Grieg's songs were premiered by his wife, whose expressive vocal gifts inspired Grieg to write
is jfricate dynamic marking in his music. What Grieg brings to his music is inspiration and nationalism. Grieg's
I nationalism can beheard in his setting of great poets in folk-song melodies, recalling the melodies of his native country.
! ©leg's songs can be classified into distinct periods, divided by his settings of German, Danish, and Norwegian texts.
His Seeks Lieder are from the German period, using all originally German texts, unlike some of his songs which have
^ been translated from Danish and Norwegian texts into German by modem publishers in an attempt to make the songs
1 more popular.
Jj
^ fo "Grass" Grieg uses his compositional maturity, turning a German folk song into a structured strophic song, one of
^ Grieg's favorite compositional forms, while retaining the jocularity of the simple tune. As a testament to his genius,
i Grieg follows the carefree "Grass" with the somber "Dereinst, Gedanke mein." Grieg once said "The realm of harmony
j was always my dream-world." In "Dereinst" rich harmonies and slowly shifting keys in the vocal and piano lines
lj frings to light Grieg's ethereal world. The next two songs again show Grieg's affinity for playful poetry and folk
J melodies. "Lauf der Welt" is a modified strophic song in which Grieg uses playful folk-like rhythms. In the fourth
I song, "Der verschwiegene Nachtigall," Grieg again uses the strophic form, allowing the performer to take on the
character of the playful young girl, who is poorly hiding her love affair. For the only Goethe poem in the set, "Zur
Roseuzeit," Grieg again uses shifting tonalities to retain the subtle ambience of the piece. Finally Grieg ends his set of
- enchanting melodies with a stirring love-song, rising at the end of the piece in a stirring climax.
' from Cycle of Holy Songs
Ned Rorem
Ned Rorem is one of the most prolific song composers in the last eighty years. Rorem is not only a composer, but an
author, publishing twelve books to date. Rorem's lyric senses and literary insights make him an insightful song
j composer. Rorem spent seven years in Paris, studying closely with members of Les Six, a group of French composers
from the beginning of the 20 th century dedicated to furthering new music. Rorem was especially influenced by Poulenc,
<1 a member of Les Six.
; Rorem's Cycle of Holy Songs, composed in 1951, show some aspects of his French style. The piano, rather than being an
equal partner with the voice, helps tell the story of the sacred poetry. "Psalm 134," a call to glorify the Lord, begins
with the piano playing broad, victorious chords. In the next song, "Psalm 142," the piano becomes more somber,
setting the mood of the cry for help that begins the vocal line. Each of these Psalms also show Rorem as a modem
composer, shifting key signatures and time signatures to best set the text. Through this cycle, Rorem proves himself to
. be a master of texts, emotions, and melodies.
j
from Eve-Song JakeHeggie
Jake Heggie has composed over two hundred songs as well as concert!, orchestral works, and the operas Dead Man
Walking and The End of the Affair. Heggie has been resident composer for the San Francisco Opera, among other
institutions, with new commissions pouring in all the time.
fn Eve-Song Heggie writes nine songs portraying the Biblical character Eve in a new, almost feminist light. Each rang
•s written to a text of Heggie's own composition, showing his prowess as a poet as well as a composer, n o /
energetically makes a new friend. Heggie uses quickly moving lines and scattered me o les D ! ea sant and
Eve's experiences. “Even" changes the mood completely, peacefully expressmg the tough*
^pleasant. Eve has during her rights. Finally Heggie ends with Eve's plamhve emembejs
Garden of Eden, betwefn "... the Tigris and the Euphrates." To end the cycle Eve hums to herself as she remember
ner paradise.
(All events are admission free and held in Margaret Comstock Concert H all,
unless otherwise noted. Events are subject to change.)
Thursday. March 30 - 8:30 p.m.
Student Recital: Heather McCulIum, flute. The program will include works by J. S. Bach, Aaron Copland
Octave Ferroud, Katherine Hoover, and Eldin Burton.
Pierre
Thursday. March 30 - 9:00 p.m.
Graduate Recital: Brian Koning, jazz trumpet (Malcolm Bird Recital Hall). The program will include works h
Miles Davis, Roy Hargrove, Victor Scherzinger, and Robert Higginbotham. onill l
Friday. March 31 - 7:00 p.m.
Senior Recital: Adam Cobb, double bass (Malcolm Bird Recital Hall). The program will include works by David
Anderson, Dmitri Shostakovich, Harald Genzmer, and Adolf Misek.
Friday. March 31 - 8:30 p.m.
Student Recital: Christian Gentry and Chris Seal, composition. The program will feature new music scored f
variety of ensembles, including voice, brass quintet, piano trio, solo saxophone, and more. ° ra
Saturday. April 1-1:00 p.m.
Senior Recital: Virginie Achim, piano. The program will feature Schumann's "Kinderszenen Op 15 " Beethnv
"Senate in A-flat Major, Op. 26," and “Piano Concerto No. 2 in G Minor, Op. 22” by Saint-Saens. ’ '
Saturday, April I - 3:00 p.m.
rn J Ma f?. rCla !f; n A ‘ eX f" der K ° brin / piano ‘ Featurin § the gold medalist of the Twelfth Van Cliburn International Pia,
Competition (2005). Admission is free and open to the public.
Saturday. April I - 7 00 p m
Pa ra dS a Sl« Benefi ‘ Concelt - Sile "‘ at 6:00 p.m. Performances by THE HAWi
-isLfree^^
Sunda y,.April 2 - 300 P m
mer^ist "intemati ^ 6 "T C ° mpetitio " Winners Recital Series presents this gold
"Arabesque" and "Fantasie in C Major, Op 17 "Brahms’ "T^Rh* 10 " L 2 .°° 5) ' The program is comprised of Schumann 1
flat Minor, Op. 31 - and “Schento No 4 in E Majop Op 54 .' RhapS ° d,es ' 0p ' 79 ’" and Chopin's "Scherzo No. 2 in »
Sun day, April 7 - 73 n p m
Vivaldi-s The fL/sTsmsTs w5l asThe ™nne!^Se^A ea ? 1 ?^ a l lty Violinist 1 Patrick Rafferty for "Spring” from
and Rebecca Johnson (flute). Bernstein’s "Symphonic Dances^rom W«t» Stern" wtr' 1 ’ 0 1 ' T T™"
west oiae story will conclude the program.
Monda y,_April 3 - 7 -nn P n
rnest Bloch, Giovanni Viviani, and Marcel Bitsch ^ 6 Pr ° 8ram wi ^ include works by Johann Baptist Georg Neruda,
londay, April 3 - p m
eorge Antheil, and Thorvald Hansen™™ ^ ^ Pr ° gram Wl11 incIude works by Otto Ketting, Tomaso Albinoni,
u OF L Music Concert Line
PH: 502-852-0524
music.louisviIle.edu
Adam Cobb,
double bass
student of Sidney King
with
Robert Boozman, piano
and
Clayton Vaughn, violoncello
Senior Recital
Friday Evening
March 31, 2006
7:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pacers. Thank you.
PROGRAM
Four Short Pieces for Solo Double Bass David Anderson
Prelude: Largo (b. 1962)
Scherzando
Serenade: Andante cantabile
Capriccio: Adagio; allegro ritmico
Adagio from Ballet Suite No. 2, Dmitri Shostakovich
"The Limpid Stream" (1906-1975)
Six Bagatelles for Violoncello and Double Bass Harald Genzmer
Falkenlied: Tranquillo (b. 1909)
Der Ackermann: Moderato
Capriccio: Leggiero
Irisches Lied: Tranquillo e rubato, dolce
Perpetuum Mobile: Giocoso
Finale: Presto, leggiero
Sonata No. 2, Op. 6 for Double Bass Adolf Misek
Con fuoco (1875-1954)
Andante cantabile
Furiant: Allegro energico
Finale: Allegro appassionato
This recital is given in partial fulfillment of the requirements
for the Bachelor of Music degree.
PROGRAM NOTES
Four Short Pieces for Solo Double Bass David Anderson
David Anderson (b. 1962) is currently the principal double
bassist of the Louisiana Philharmonic in New Orleans. He earned a
bachelor of music degree at the University of Cincinnati College/
Conservatory of Music, and studied double bass with Frank Proto,
Warren Benfield, and Stuart Sankey. Realizing that the repertoire for
the double bass was limited, he began composing for the double bass
in 1984. He used the successes of his teacher Frank Proto, who is also
an esteemed double bassist / composer, as inspiration. Since then, he
has completed many pieces for bass including a Sonata for Double
Bass, Seven Double Bass Duets, as well as a concerto for bass and
orchestra commissioned by the Philadelphia Orchestra and premiered
by Harold Robinson, Principal double bassist, performed with the PO
under the direction of Wolfgang Sawallisch. Mr. Anderson also
writes for other instruments including a concerto for bass trombone,
piano and orchestra for his father, Edwin Anderson, retired principal
bass trombonist with the Cleveland Orchestra. He is also winner of
the Allen Ostrander Trombone Award for his Elegy, also written for
his father. Locally speaking, the Kentucky Center Chamber Players
commissioned his Quintet for Oboe, Clarinet, Violin, Viola, and Double Bass.
The Four Short Pieces were commissioned by friend and fellow
bassist, Sidney King. The piece contains four movements in a Baroque
sonata style of slow, fast, slow, fast. Each movement employs the use
of heavily mixed meters, providing an unstable rhythmic element to
the music. The first movement. Prelude: Largo, is slow and pensively
lyrical in nature with a main theme of two eighth notes with an
anacrusis and a grace note before the strong beats. The movement
builds to a soaring climax, but quickly diminishes into a last statement
of the theme to the end of the movement. The second movement,
Scherzando, is heavy but quick. Multiple double stops with dissonant
intervals help to create a sense of unease in the first melody. The
second section is in the parallel major key and contains no dissonance
at all. The section feels quicker with the introduction of more flowing
melodic material as opposed to the plodding material of the opening
section. The first section then repeats and ends the movement. Like
the first movement, the Serenade: Andante cantabile, is slower and very
lyrical. The movement introduces two melodic lines and comes to a
climactic section after the second. The two melodies then return to
finish the movement. Capriccio, the fourth movement, enters with a
cadenza-like introduction before launching into the main melody.
The idea of mixed meter is of particular importance as, coupled with
oddly placed accents, it keeps the music on its toes, so to speak. The
movement also utilizes extensive use of the instrument's capacity for
harmonics, as does the third movement. Each idea in the movement
is short and barely expounded upon or referred to later in the
movement. The movement ends with an anticlimactic plucked double
stop of a major 17 th in a key with little relation to the opening key.
Adagio from Ballet Suite no. 2 Dmitri Shostakovich
Shostakovich (1906-1975) was one of the leading composers of
the twentieth century and of Russia, his country of origin. In his
lifetime he produced 15 symphonies, 15 string quartets, and 3 ballets,
among other great works. His ballet, The Limpid Stream, was written
in 1934-5, just a few years after the time of another of his great works.
Lady Macbeth. The early thirties were a time of critical prosperity for
Shostakovich. He had just ended several years of successful film and
theatre music, as well as his third symphony, and he had reached the
pinnacle of Soviet musical art with the sweeping success of Lady
Macbeth. The Limpid Stream was his third and final attempt at a
successful ballet. Although it was not received well, he could shrug
off the criticisms with his other accomplishments to back him up. His
success was secure until a viewing of Lady Macbeth by Stalin, who
condemned the piece, prompting an unsigned article in the periodical
Pravda with the heading 'Muddle instead of music'. A later article
condemned The Limpid Stream as balletic falsity, and these, combined
with other sources of criticism, ultimately caused Shostakovich's fall
from the height of Russian music, although he would regain his status
later in his life.
The Adagio movement was originally written for cello with
accompanying orchestra. The transcription was done by Harold
Robinson, Principal bassist of the Philadelphia Orchestra and profes¬
sor of double bass at the Curtis Institute of Music. It begins with a
kind of fanfare which diminishes into the beginning of the solo line.
The melody is carried by the bass with sparse accompaniment until
about a third of the way through the piece. At this point there is an
interesting juxtaposition of meters between the duple meter of the solo
line and the triple meter of the accompaniment. This continues until
the solo line joins the accompaniment in the triple meter, which
climaxes about halfway through the piece. After a quasi-cadenza, the
main melody returns in a muted color to soften the sound. The piece
ends with a rounding of the melody and a held note in the solo line
with finishing chords in the accompaniment.
Six Bagatelles Harald Genzmer
Harald Genzmer was bom in Blumenthal, Germany in 1909.
In 1928 he began studies at the Hochschule fur Musik in Berlin where
he received tutelage from famed composer Paul Hindemith as well as
other notable instrumentalists, theorists, and musicologists. A
pianist and clarinetist, he taught history and performance (1946) in
Freiburg, and composition in Munich, where he now resides, since
1957.
Described as a humanist composer, Genzmer puts the per¬
former ahead of the music. This could be argued as the case in his 1985
work. Six Bagatelles for Violoncello and Double Bass, as it contains both
an aspect of playability and enjoyment on the part of the performer.
Each of the six movements in the duet depicts a certain character,
physical or abstract. The first movement, Falkenlied (Falcon song):
Tranquillo, begins with a small introduction to the theme. The G minor
theme first appears in the cello and then is passed off to the bass. The
movement ends with a restatement of the introductory material. Der
Ackermann (the Farmer): Moderato, is a bit faster in pace and employs the
less common meter of 5/4. The melody begins in the bass and is
sparsely accompanied by the cello. The melody then switches hands
with the bass providing a fuller accompaniment to the cello. Move¬
ment three, Capriccio: Leggiero, is best described with the subtitle
“Fuchs, du hast das Lamm getotet” (“Fox, thou has killed the lamb”).
The frolicking nature of the movement suggests the fox chasing, and
perhaps ultimately doing away with, its small prey. The fourth
movement, Irisches Lied (Irish Song): Tranquillo e rubato, dolce. The
movement features the melody in the cello throughout while the bass
provides a constant pizzicato accompaniment. The fifth movement,
Perpetuum Mobile: Giocoso, begins with the motive of a short scale,
which is then expounded upon with a full scale. The motivic rhythm
is perpetuated throughout the movement by the bass while the cello
plays the time “Sur le pont d'Avignon” on top. The Finale: Presto,
leggiero, is in a binary (ABA) form. The first section involves various
quick triple meters and focuses heavily on G as its tonal center. The
second section is much slower with swelling melodic lines. The A
section repeats to end the movement and the piece.
Sonata No. 2, Op. 6 for Double Bass Adolf Mi§ek
Adolf Misek (1875-1954) was bom in Modletin, Czechoslova¬
kia, but his greatest work as a double bassist was done in Vienna.
There he studied under the famed pedagogue Franz Simandl, who was
associated with the Vienna Conservatory at the time. Misek was also
a member of the Vienna Opera Orchestra.
Later in his life, Misek moved back to his home country and
lived and worked as a soloist with the National Theatre. It was in this
phase of his life that he set out to do more for his instrument. At the
time, there was limited repertoire and it was his goal to expand it. The
author of three major sonatas, Misek introduced the double bass into
mainstream chamber music. His Sonata No. 2 for Double Bass is now
a standard in double bass repertoire.
The piece itself is comprised of four movements in a fast-slow-
fast-fast configuration. The first movement. Con fuoco, uses a fiery
exposition to introduce the first theme. The music then gives way to
a slower, softer second theme. After the introduction of an intense,
quick-paced third theme and a section of developmental material, the
main theme returns. The second and third themes repeat as well, but
in a modulated key. The movement ends with a dramatic descending
scale and three heavily accented tonic chords. The second movement
contains a lyrical melody first heard in the introduction by the piano.
As the bass enters and takes the melody, each of the two voices play
into the other's line with a juxtaposition of duple meter in the bass and
triple meter in the piano. The middle section, marked Animato, is a
quick and lively melody shared by both voices. With a short
transitional section, the main melody returns to finish the movement.
The third movement is afuriant, which is a Czech dance in triple time
with hemiola-type syncopations. The hemiolas generally occur at the
beginning, helping momentarily to confuse the meter. The movement
also contains a more lyrical middle section in a slightly slower tempo
which then builds into the restatement of the main melody. The Finale
movement is much like the first. Marked Allegro appassionato, it begins
with an intense melody which is, at first, doubled in the piano. The
movement employs the heavy use of color change with the different
sentiments it portrays. A second section introduces a new, softer
melody in a major key, but soon reverts back to the excitement of the
movement's beginning. The music then goes through transitional
and developmental material before returning to the rhythm of the first
melody in the heavily reinforced tonic key to end the movement and
the piece with three strong chords in the tonic key.
School of
music
IMVERSIIYof IDUISVIUE.
dare to be great
presents
A SELECTION OF WORKS BY
Christian A. Gentry
and
Chris Seal, composition
students of Steve Rouse
Student Recital
Friday Evening
March 31, 2006
8:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Invitation to the Dreamer (2005) Chris Seal (b. 1982)
text by Jeffrey Skinner (b. 1949)
Brian Tierney, tenor
Cary Cobb, piano
Trial Not by Jury (2006) * Christian A. Gentry (b. 1978)
Kevin Arbogast, alto saxophone
Prelude to an Emotion (2005) * Chris Seal
Gerome Stewart, violin
Nicole Boguslaw, cello
Drew Foley, piano
Night Music (2004, rev. 2006) Chris Seal
I. The Eyes of Darkness
II. Dance of the Shadows
Katie Fondrisi, flute
Alexis Marsh, clarinet
Dan Dorff and Adam Hardin, percussion
Lisa Reynolds, piano
Elise Kotheimer, violin
Erin Cassel, cello
Cary Cobb, conductor
Permanent Press (2003) Christian A. Gentry
Digital playback
(Original sounds from a Steiner syn thesizer module andprocessed by Pro Tools)
Christian A. Gentry
trio (2002/3)
I.
II. Nocturne
III.
Scott Moore, violin
Marlene Ballena, cello
Drew Foley, piano
Sometimes Words Just Aren't Enough (2004) Chris Seal
I. (discovery)
II. (release)
Jake Goran, tenor saxophone
Chris Seal, guitar
(* denotes a world premiere)
PROGRAM NOTES
(written by the composers)
Invitation to the Dreamer Chris Seal
Invitation to the Dreamer
All night, my wife says, I keep moving—
I twitch, I revolve in the dark sheets,
I run on one leg like a dreaming dog.
But when I wake, what occupied hills,
what rocky coasts and bombed-out
buildings I've climbed; I don't remember.
The face in the bathroom mirror looks
vaguely familiar, though lined, crushed
and knocked off-center. Hello. Face
of an old friend come back to me
at great cost, bearing your heart¬
breaking secret, spit it out. Don't stand
there, speechless, gaunt, imploring;
who needs a story to change a life
that can't be told? Say it, friend-
tell where you've been all night,
if not the whole at least the walking
bones. Don't let the silence stand
for answer, don't let your other self
believe the nothing day leads up
only to nothing night, and the star
lock, and the repetitious moon. Speak.
When I wrote this poem it was as the first in a series I envisioned as a kind
of lay litany. I saw it as an invocation, a calling out for inspiration, divine
or otherwise. As usual in my work, even when I get spiritual the grubby
world of everyday seeps in, and this poem ends up addressing the sleep-
creased face in the morning mirror - "speechless, gaunt, imploring."
Where the poem went surprised me in the end. In a brusque voice edged
by despair, the waking self demands of the dreaming self that it describe
the journey it has taken. The daylight mind looks to the dream mind for
expansion, for assurance that we can still change, somehow transcend the
ritual of pedestrian life. I find the poem-now-frantic and optimistic at
once. It is a tone often struck in my early work. I like to think that today
I am more pessimistic, perhaps, but also less anxious. And it may even be
true.
-Jeffrey Skinner
I have sought to replicate the contrast between the spiritual, transcenden¬
tal world and the "grubby world of everyday" in Jeff's poem by alternating
quintal harmony (C-flat, G-flat, D-flat, A-flat, E-flat, and B-flat to represent
the spiritual world) with quartal harmony (B-flat, E-flat, A-flat, D-flat, G-
flat, and C-flat to represent the everyday world). As you can see, these
musical ideas are built around the exact same pitch material, and thus,
infer a subtle, yet deep-rooted, connection between the two aforemen¬
tioned worlds.
-Chris Seal
Trial Not by Jury Christian A. Gentry
The saxophone is the judge, and we are the unassuming citizens trying to
get a fair trial, however unevenly that fairness may be distributed.
Without a jury of peers, we are at the mercy of one opinion, one moral code,
one viewpoint, and one particular bias from which we have no escape. We
just sit, listening and waiting...for fate to fall upon us.
Prelude to an Emotion Chris Seal
This piece was indirectly commissioned by my mother's birthday. After
changing my career goals and adding on a ninth semester of undergradu¬
ate school, I was out of school, unemployed and broke, and therefore, had
little of monetary value to offer as a birthday present. Although it is over
a year belated, I hope that she (and everyone else) will enjoy her gift. Happy
birthday, Ma!
Night Music
Chris Seal
I. The Eyes of Darkness: This harmonic material of this movement is
built around a four-note scale (A, B-flat, D, E-flat). Immediately following
a cello pizzicato, this scale is transposed a major second downward (G, A-
flat, C, D-flat), and the two scales are developed in bimodal fashion. After
reaching an intense climax, the brooding tension of the piece is resolved
through a new arrangement of the same pitches (G, A, C, D and A-flat, B-
flat, D-flat, E-flat, respectively). This final section is introduced by a
melodic statement in the glockenspiel.
II. Dance of the Shadows: Here, the idea of a four-note scale is elaborated
upon with a measure-by-measure alteration of the three fully-diminished
chords (G, B-flat, C-sharp, E; F-sharp, A, C-sharp, E-flat; and F, A-flat, B, and
D, respectively). All twelve pitches of the chromatic scale have now been
utilized.
Permanent Press Christian A. Gentry
One of the exhilarating experiences of composition is tinkering around
with technology. The sound world of electronic music is without bound¬
aries. I wanted to compose an electronic piece that makes the listener feel
like the music is on the brink of spinning out of control, without a sense of
borders. In this piece I used an old Steiner synthesizer (late '60s / early 70s
model) that was lying around in the Ussachevsky Experimental Music
Studio at the University of Utah. I like to think it is a synthesizer that
Ussachevsky might have used himself. From the module I created a patch
that traveled from an oscillator into a sampler, back into a voltage control
oscillator and then captured in an envelope. The effect of this was a gigantic
wave that had an indeterminable duration. I recorded this wave into Pro
Tools for about fifteen minutes. I then chopped it in several pieces to create
my material. The piece follows the path of the wave. Throughout the piece
one can hear the original wave in the background with its chopped pieces
mostly as foreground material. I did not add any reverb or effects that
would create an aural space of manifold dimensions. Rather, the piece has
a palpable feeling of being inescapable. It is probably best to hear this piece
with headphones.
trio Christian A. Gentry
This piece was written originally as a single-movement piece to be re¬
corded by the CanyonLands New Music Ensemble in Salt Lake City.
However, during the process of writing the piece it became apparent that
it would require two more movements to round off all of the material
presented in the first movement. Although there was a clear compositional
design and path that I pursued when I wrote the piece, I have since forgotten
a lot of those details. Suffice it to say that the first movement presents the
meat of most of the material, the second movement (Nocturne) provides a
!L agi ^. and k eau tiful contrast, and the third movement is a modified rondo
at further develops the first movement material.
School of
music
IMVERSIIYoflDUISVILlE
dare to be great
presents
Virginie Achim,
piano
student of Dr. Naomi Oliphant
with
Naomi Oliphant , piano
Senior Recital
Saturday Afternoon
April 1, 2006
1:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you
PROGRAM
Kinderszenen, Op. 15 Robert Schumann
Von fremden Landem und Menschen (1810-1856)
(A Tale of Distant Lands)
Kurios Geschichte (Curious Story)
Hasche-Mann (Blindman's Bluff)
Bittendes Kind (Pleading Child)
Gluckes genug (Perfect Happiness)
Wichtige Begebenheit (Great Adventure)
Traumerei (Reverie)
Am Kamin (By the Fireside)
Ritter von Steckenpferd (On a Rocking Horse)
Fast zu emst (Almost Too Serious)
Fiirchtenmachen (Hobgoblin)
Kind im Einschlummem (In Slumberland)
Der Dichter spricht (The Poet Speaks)
Sonate in A-flat Major, Op. 26 Ludwig van Beethoven
Andante con Variazioni (1770-1827)
Scherzo: Molto allegro
Marcia funebre sulla morte d'un Eroe: Maestoso Andante
Allegro
PAUSE
Piano Concerto No. 2 in G Minor, Op. 22 Camille Saint-Saens
I. Andante sostenuto (1835-1921)
Naomi Oliphant, second piano
PROGRAM NOTES
In the spring of 1838 during his stay in Vienna, German composer
Robert Schumann composed Kinderszenen (Scenes from Childhood), Op. 15.
Consisting of thirteen vignettes, these pieces, which essentially make up
a cycle, are written from the point of view of an adult reminiscing about
his childhood. Kinderszenen is an example of program music, music that
attempts to express or depict one or more nonmusical ideas, images, or
events. Program music became popular during the 18 th century as com¬
posers battled to gain respect for instrumental music. In his composition
Schumann instills the depths and contradictions of his personality. "It is
by turns ardent and dreamy, vehement and visionary, whimsical and
learned." 1 In listening to these miniatures, notice the exaggerated por¬
trayal of each mood as well as the stark contrast from one character piece
to another.
Sonate in A-flat Major, Op. 26 was composed in Vienna in 1801 as
Beethoven was beginning to realize the full scope of his worsening deaf¬
ness. Beethoven was depressed and miserable, and as a result he isolated
himself from society, unable to admit to people that he was deaf. His
decision to continue composing translated into his music; he sought with
each piece to say something new. His works became like dramatic narra¬
tives of his struggles. It was also during this time that Beethoven began
experimenting with the weight, character, and balance of the various
movements in a work. In this sonata, the weight is shifted to the third
movement, a funeral march on the death of a hero. The opening movement
is comprised of a slow theme followed by five variations contrasting in
meter, character, color, and tone. The second movement is a comical
scherzo laden with sudden dynamic constrasts. The final movement is
written as a rondo whose main theme consists of a diatonic progression of
dominant harmonies with a perpetual sixteenth-note motion.
Like Beethoven, Saint-Saens was a piano prodigy who wrote piano
concerti for his own use. Saint-Saens composed with a conservative
musical language, and his works embody certain traditional French
qualities such as moderation, logic, clarity, balance, and precision. The
musical innovation of orchestral music combined with piano took France
by storm in April 1868, when he premiered his Piano Concerto No. 2 in G Minor
in Paris. From its powerful opening of rolling arpeggios through the
perpetual mobility of the finale, this concerto infused French music of the
1870s with a new spirit, charm and sophistication. It became a prototype
concert piece for piano with orchestra for the next century. Deviating from
typical sonata form, the first movement of the Piano Concerto No. 2 begins
with an extended cadenza for piano alone in the style of a Bach organ
praeludium. The piano and orchestra together develop material from the
cadenza before leading to another piano cadenza.
1 J. Peter Burkholder, Donald J. Grout, and Claude V. Palisca, A History
of Western Music, 7 ,h ed. (New York: W.W. Norton and Company, 2006), 619.
fJfV^C/School of •
^/.'music
U^VERSnY^I QUISVILLE.
dare to be great
and
present the
Delta Omicron
Cancer Awareness
Concert
Saturday Evening
April 1, 2006
7:00 p.m.
Margaret Comstock Concert Hall
Donations are accepted and appreciated.
Proceeds will benefit the American Cancer Society.
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Opening
Amazing Grace
Ben Sollee, cello
A tribute to Jessica Heard's mother, Patricia "Trish" Jean Heard
( 1957 - 2002 )
Held Natalie Grant
Jessica Heard, voice
Justin Homback, piano
There You'll Be Faith Hill
Jessica Heard & Ashley Gutierrez, voice
Justin Homback, piano
Paradigm
Selections from their album, Paradigm
INTERMISSION
Speakers - Cancer Survivors
Ben Sollee
Selections from his album. All My Friends
The Hawk
Selections from their album. Tied With Tiny Wings
A reception will follow the concert.
Special thanks to Phi Mu Alpha Sinfonia
for their assitance with the concert reception.
Uvcomina Events at the School of Music
(All events are admission free and held in Margaret Comstock Concert Hall,
unless otherwise noted. Events are subject to change.)
Sunday. April 2 - 3:00 p.m.
Guest Artist: Alexander Kobrin, piano. The Gist Piano Competition
Winners Recital Series presents this gold medalist of the Twelfth Van Cliburn
International Piano Competition (2005). The program is comprised of
Schumann’s "Arabesque" and “Fantasie in C Major, Op. 17,” Brahms’ “Two
Rhapsodies, Op. 79," and Chopin’s "Scherzo No. 2 in B-flat Minor, Op. 31” and
"Scherzo No. 4 in E Major, Op. 54.”
Sunday. April 2 - 7:30 p.m.
University Symphony Orchestra. The program will feature faculty
violinist J. Patrick Rafferty for "Spring” from Vivaldi’s The Four Seasons as well
as the winners of the School of Music Concerto Competition, Ian Carroll
(trombone) and Rebecca Johnson (flute). Bernstein’s "Symphonic Dances from
West Side Story" will conclude the evening's program.
Monday. April 3 - 7:00 p.m.
Student Recital: Charles Calloway, trumpet. The program will include
works by Johann Baptist Georg Neruda, Ernest Bloch, Giovanni Viviani, and
Marcel Bitsch.
Monday. April 3 - 8:30 p.m.
Student Recital: Daniel Whaley, trumpet. The program will include works
by Otto Ketting, Tomaso Albinoni, George Antheil, and Thorvald Hansen.
Tuesday. April 4 - 8:00 p.m.
University Student Composers
Tuesday. April 4 - 8:00 p.m.
University Jazz Combos ( Malcolm Bird Recital Hall)
Wednesday. April 5 - 7:00 p.m.
Student Recital: Melissa McDaniel, trumpet ( Malcolm Bird RecitalHall). The
program will include works by Albinoni, Ravel, Neruda, and TheoCharlier.
Thursday. April 6 - 8:00 p.m.
University Jazz Ensemble II
Friday, April 7 - 8:00 p.m.
Graduate Recital: Justin Romney and Hanpill Ryu, choral conducting.
The program will feature the University Chorus, Chorale, and Cardinal
Singers.
U of L Music Concert Line
PH: 502-852-0524
music.louisville.edu
l^nC^School of e
Wpmusic
UWERSmofl DUlSVIIiE,
dare to be great
Saturday, April 1, 2006 Piano Master Class
3:00 p.m. with Alexander Kobrin
Margaret Comstock Concert Hall Gold Medalist of the 2005
Van Clibum International
Piano Competition
Notturno
Myco Tran
Ottorino Respighi
(1879-1936)
Impromptu in F Minor, Op. 142, D. 935, No. 4 Franz Schubert
(1797-1828)
Andrea Reynolds
Sonatine Maurice Ravel
II. Mouvement de Menuet (1875-1937)
Sandra Duran
Nocturne in F Minor, Op. 55, No. 1
Aaron Craker
Frederic Chopin
(1810-1849)
Alexander Kobrin,
piano
Gold Medalist of the Twelfth Van Cliburn
International Piano Competition (2005)
Sunday Afternoon
April 2, 2006
3:00 p.m.
Margaret Comstock Concert Hall
BIOGRAPHY
When Alexander Kobrin was a toddler in Russia, he played happily with
his toys as long as he could hear music. When the radio was turned off, he
cried. His father, a piano teacher, taught him how to play when he was five.
Although he often preferred playing soccer to practicing, the piano became
so important to him that the first compact disc he bought was one by famed
pianist. Van Cliburn. On June 5, at the age of twenty-five, Mr. Kobrin was
awarded the Nancy Lee and Perry R. Bass Gold Medal at the Twelfth Van
Cliburn International Piano Competition, along with three years of inter¬
national concert engagements coordinated by IMG Artists Europe, and a
compact disc recording of his award-winning Cliburn Competition per¬
formances for the harmonia mundi usa label.
First-prize winner of the 1999 Busoni Competition and a top prize winner
of both the 2000 Chopin and 2003 Hamamatsu Competitions, Alexander
Kobrin has toured extensively throughout Europe, South America, and
Asia. He has performed with the Moscow Virtuosi, the Orchestre de la
Suisse Romande, the Virtuosi of Salzburg Chamber Orchestra, and the
Moscow State Symphony Orchestra. Recent engagements include collabo¬
rations with the Rio de Janeiro Symphonic Orchestra, the English Chamber
Orchestra, and the Osaka and Tokyo Symphony Orchestras. Last season,
Mr. Kobrin toured Italy and Japan while completing his graduate studies
at the Moscow Tchaikovsky Conservatory under the direction of Lev
Naumov.
As a result of his Cliburn victory, Mr. Kobrin is touring extensively
throughout the United States during the 2005-2006 concert season includ¬
ing appearances with the Bakersfield, El Paso, Eugene, Pacific, and Utah
Symphony Orchestras and the Fort Wayne and Rochester Philharmonic
Orchestras. U.S. recital invitations will bring him to audiences in Anchor¬
age, Birmingham, Burlington, Boulder, Clearwater, Houston, Kansas City,
La Jolla, Lincoln, Louisville, New Orleans, Santa Barbara, Stanford, and
Washington, D.C/s Kennedy Center among others. Overseas, Mr. Kobrin
will participate in the Klavier-Festival Ruhr and Schleswig Holstein
Festivals in Germany. He looks forward to concerts in France, Italy, and
the United Kingdom beginning with the summer of 2006.
In addition to the Cliburn Competition disc for harmonia mundi released fall
2005, Mr. Kobrin has recorded a disc devoted to Chopin for an international
label. He also appears in In the Heart of Music, the film documentary about
the 2005 Cliburn Competition, which aired on PBS stations across the
United States throughout October 2005. When Alexander Kobrin is not
performing, he teaches at the Moscow State Gnessin Academy of Music. For
more information about Mr. Kobrin's upcoming activities or the Van
Cliburn International Piano Competition, please visit www.cliburn.org.
BIOGRAPHY
When Alexander Kobrin was a toddler in Russia, he played happily with
his toys as long as he could hear music. When the radio was turned off, he
cried. His father, a piano teacher, taught him how to play when he was five.
Although he often preferred playing soccer to practicing, the piano became
so important to him that the first compact disc he bought was one by famed
pianist. Van Cliburn. On June 5, at the age of twenty-five, Mr. Kobrin was
awarded the Nancy Lee and Perry R. Bass Gold Medal at the Twelfth Van
Cliburn International Piano Competition, along with three years of inter¬
national concert engagements coordinated by IMG Artists Europe, and a
compact disc recording of his award-winning Cliburn Competition per¬
formances for the harmonia mundi usa label.
First-prize winner of the 1999 Busoni Competition and a top prize winner
of both the 2000 Chopin and 2003 Hamamatsu Competitions, Alexander
Kobrin has toured extensively throughout Europe, South America, and
Asia. He has performed with the Moscow Virtuosi, the Orchestre de la
Suisse Romande, the Virtuosi of Salzburg Chamber Orchestra, and the
Moscow State Symphony Orchestra. Recent engagements include collabo¬
rations with the Rio de Janeiro Symphonic Orchestra, the English Chamber
Orchestra, and the Osaka and Tokyo Symphony Orchestras. Last season,
Mr. Kobrin toured Italy and Japan while completing his graduate studies
at the Moscow Tchaikovsky Conservatory under the direction of Lev
Naumov.
As a result of his Cliburn victory, Mr. Kobrin is touring extensively
throughout the United States during the 2005-2006 concert season includ¬
ing appearances with the Bakersfield, El Paso, Eugene, Pacific, and Utah
Symphony Orchestras and the Fort Wayne and Rochester Philharmonic
Orchestras. U.S. recital invitations will bring him to audiences in Anchor¬
age, Birmingham, Burlington, Boulder, Clearwater, Houston, Kansas City,
La Jolla, Lincoln, Louisville, New Orleans, Santa Barbara, Stanford, and
Washington, D.C/s Kennedy Center among others. Overseas, Mr. Kobrin
will participate in the Klavier-Festival Ruhr and Schleswig Holstein
Festivals in Germany. He looks forward to concerts in France, Italy, and
the United Kingdom beginning with the summer of 2006.
In addition to the Cliburn Competition disc for harmonia mundi released fall
2005, Mr. Kobrin has recorded a disc devoted to Chopin for an international
label. He also appears in In the Heart of Music, the film documentary about
the 2005 Cliburn Competition, which aired on PBS stations across the
United States throughout October 2005. When Alexander Kobrin is not
performing, he teaches at the Moscow State Gnessin Academy of Music. For
more information about Mr. Kobrin's upcoming activities or the Van
Cliburn International Piano Competition, please visit www.cliburn.org.
University
Symphony Orchestra
Kimcherie Lloyd, director
with special guests
J. Patrick Rafferty, Baroque violin
and
2005 School of Music Concerto Winners
Ian Carroll, trombone
Rebecca Johnson, flute
Sunday Evening
April 2, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exi t. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Spring
from The Four Seasons, Op. 8
Allegro
Largo e pianissimo
Allegro
Antonio Vivaldi
(1671-1741)
J. Patrick Rafferty, Baroque violin
PAUSE
Fantasy for Trombone and Orchestra, Op. 42
I. Moderately fast
II. Slower
III. Faster
Ian Carroll, trombone
Paul Creston
(1906-1985)
Flute Concerto in D Major, Op. 283
Allegro molto moderato
Lento e mesto
Finale
Rebecca Johnson, flute
Carl Reinecke
(1824-1910)
PAUSE
Symphonic Dances from West Side Story
Leonard Bernstein
(1918-1990)
University Symphony Orchestra
Kimcherie Lloyd, director
Cary Cobb, assistant conductor
Noriko Taka, graduate assistant
Joe Ortiguera, graduate assistant
Kristin Roehrig, manager
First Violin
S cott Moore +
Juan Carlos Ortega
Joe Ortiguera
Elise Kotheimer
Nicole Reiter
Cordia S. Thompkins
Second Violin
G erome Stewart %
Sowmya Srinivasan
Tanya Derringer
Leslie Heinzen
Alex Petersen
Savannah Sharp
Arezou Etemad
Alice Buchanan
Elizabeth Wooldridge
Emily Caudill
Viola
James Dersch £
Scott Farley
Monica Clarke
Alisson Reber
Sarah Speck
Hannah Turi
Cello
Marlene Ballena J:
Clayton Vaughn
Erin Cassel
Charlie Patton
Nicole Boguslaw
Katie Schladand
Fred Speck
Kristin Roehrig
Ben Sollee
Bass
Elizabeth Adams J
Adam Cobb
Nick Wooldridge
Charlie Blanton
Alice Markiewicz
Erica Jones
Chris Korenkiewicz
Flute
Rebecca Johnson
Tyra Blasher
Amanda Taylor
Oboe
Gretchen Reiter
Wendy Frazee *
Barbara Keys *
English Horn
B arbara Keys *
Clarinet
N oriko Taka
Amber Richeson
Michelle Linder
E-flat Clarinet
A mber Richeson
Bass Clarinet
Brad Baumgardner
Saxophone
K evin Arbogast
Bassoon
Carrie Baxter
Matthew Karr **
CONTRABASSOON
Roger Soren *
Horn
M att Smith
Dominic Rotella
Kate Reyman
Lindsay Pummell
Colin Dorman
Autumn Pate
Trumpet
Ryan Nottingham
Michael Swope
Daniel Whaley
Melissa McDaniel
Patrick McGinthy
Trombone
I an Carroll
Matt Yarborough
Brent Crim
Bass Trombone
A nastasi Fafalios
Tuba
Aaron Gaither
Timpani
Matt Greenwood
Brian Kushmaul **
Percussion
Matt Greenwood
Brian Kushmaul **
David Jaggie
Whitney Winstead *
Jenny Beadle *
Harp
Amy Isbell *
Piano/Celeste
Cary Cobb
t concertmaster
| principal
* guest
**faculty
School of
music
IMVERSITYof I DULSVILLE
dare to be great
presents
Charles Calloway,
trumpet
student of Michael Tunnell
with
Deborah Dierks, piano
Matt Janssen, organ
Student Recital
Monday Evening
April 3, 2006
7:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event office or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Concerto for Trumpet Johann Baptist Georg Neruda
Allegro (1711-1776)
Largo
Vivace
Proclamation Ernest Bloch
(1880-1959)
INTERMISSION
Sonata No. 1
Andante
Allegro
Presto
Allegro
Adagio
Giovanni Viviani
(1638-1692)
Variation on a Theme by Domenico Scarlatti
Marcel Bitsch
(b. 1921)
School of
music
INIVERSHYof I0UISVILLE
dare to be great
presents
Daniel Whaley,
trumpet
student of Michael Tunnell
with
Mary Ann Mattingly, piano
Student Recital
Monday Evening
April 3, 2006
8:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Intrada
Concerto in B-flat Major
Allegro moderato
Andante
Vivace
INTERMISSION
Sonata
Allegretto
Dolce
Scherzo Vivace
Allegretto
Sonata
Allegro con brio
Andante con espressione
Allegro con anima
Otto Ketting
(b. 1935)
Tomaso Albinoni
(1671-1751)
trans. Jean Thilde
George Antheil
(1900-1959)
Thorvald Hansen
(1847-1915)
School of
music
INIVERSITYof IOULSVILLE
dare to be great
presents
University Jazz
Combos
Jerry Tolson & Natalie Boeyink,
directors
Tuesday Evening
April 4, 2006
8:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
"Ron Carter" Combo
Jerry Tolson, director
Natalie Boeyink, assistant director
Wind Print Jerry Bergonzi (b. 1947)
On a Misty Night Tadd Dameron (1917-1965)
Four on Six Wes Montgomery (1925-1968)
Brent Hall, trumpet
Jacob Goran, tenor saxophone
Jake Stith, guitar
Justin Homback, piano
Natalie Boeyink, bass
Evan Pauchak, drums
Latin Jazz Ensemble
Natalie Boeyink, director
Yes, More Blues Chris Seal (b. 1982)
Omorro Nao Tern Vez Antonio Carlos Jobim (1927-1994)
Vinicius de Moraes (1913-1980)
Jake Goran, alto saxophone
Luke Barker, tenor saxophone
Chris Seal, guitar
Nate McCoy, piano
Natalie Boeyink, bass
Phil Turner, percussion
Alex Ratliff, percussion
School of
m usic
IMVERSIIYof 1DUISVILLE.
--
dare to be great
presents
University
Student
Composers
Tuesday Evening
April 4, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Drum March Joseph A. R. Healy
(b. 1981)
Brad Baumgardner, bass clarinet
Marlene Ballena, cello
Holly Thomerson, -piano
Whitney Winstead, Phil Turner & Joseph A. R. Healy, percussion
Rondo
Michelle Linder, clarinet
Aaron Stepp
(b. 1985)
Quartet No. 4
I. Allegro
II. Andante
III. Vivace - Presto
Sharon Edmonds, clarinet
Dominic Rotella, horn
Jeremy Vance, bassoon
Hui Fang, piano
Scherzo for Woodwind Quintet Ryan Doughty
(b. 1980)
Amanda Taylor, flute
Gretchen Reiter, oboe
Chris Phillips, clarinet
Kate Reyman, horn
Brad Baumgardner, bass clarinet
Farewell to a Short Friend Aaron Stepp
Angel Hernandez
(b. 1985)
Liz Adams, double bass
The Ineluctable Lightness of Seeing Christopher Seal (b. 1982)
text by Ron Whitehead (b. 1950)
Jessica Towse, soprano
Ron Whitehead, speaker
Mary Rada, vibraphone
Matt Greenwood, marimba
Alyssa Spaulding, timpani
Kelley Gibson & Whitney Winstead, percussion
Gregory Byrne, conductor
Solar Flare Aaron Stepp
Matt Janssen & Melissa McDaniel, trumpet
Dominic Rotella, horn
Aaron Stepp, trombone
Aaron Gaither, tuba
Conniving Joseph A. R. Healy
I. Conniving
II. Open Fifths
Kristin Roehrig, cello
Envelopes by the Phone Christian A. Gentry (b. 1978)
I. All Do Not See text by Karen Sorrels
II. Dreamlove tonite and Christian A. Gentry
Kristin Hale, voice
Juan Carlos Ortega, violin
Chris Korenkiewicz, double bass
Matt Greenwood, Tyra Blasher & Jenny Beadle, percussion
Sarah Danyi, conductor
Jubilament
Sharon Edmonds, clarinet
Russ W. Wallace
(b. 1984)
Mr. Babbage's Difference Engine Brad Baumgardner
(b. 1980)
Tiffany Wilson, flute
Gretchen Reiter, oboe
Sharon Edmonds, clarinet
Kevin Arbogast, alto saxophone
Erica Jones, bassoon
Autumn Pate, horn
Michael Swope & Charles Calloway, trumpet
Aaron Stepp, trombone
Mat Murphy, tuba
David Jaggie, conductor
O Dance! O Light! Onami! Jeremy Podgursky
(b. 1975)
Amanda Taylor, flute & piccolo
Barbara Keys, oboe
Noriko Taka, clarinet
Carrie Baxter, bassoon
Tyra Blasher, vibraphone
Ryan Connell, piano
Scott Moore & Gerome Stewart, violin
Marlene Ballena, cello
Adam Cobb, double bass
Cary Cobb, conductor
PROGRAM NOTES
(written by the composers)
Drum March Joseph A. R. Healy
Drum March is a work about how drums can have a moving effect
without other instruments. In the background, a drone line establishes the
mood and is the foundation upon which the piece is built. The background
also creates a flat surface for the melodic rhythm to march upon. The first
rhythmic line to step out onto the surface is the bass drum. As the bass
drum grows in dynamics and rhythmic texture, more drums join in. Once
the drone is overpowered with sound, the march of the drums begins. The
piece begins with the "B" section which shows what is yet to come (the
prophecy). Next is the "A" section, the piece's true beginning, followed by
the "B" section to fulfill the prophecy. The piece ends with the "C" section
wrapping up the march of the drums. The drum marches victoriously over
its dominant predecessor, the droning line in the background. In the end,
the two cannot be without each other, but if this did occur, the result would
be a sustained sound for an endless amount of time.
Rondo Aaron Stepp
I have composed a short set of works for clarinet. The concept was for
each work to be versatile enough to be played on either B-flat or bass
clarinet. This is the second work to be performed from the set, and is a loose
7-part rondo. Usually I have better titles; however, the not-so-exact form
of this work won over a more romantic title.
Squares and Triangles Joseph A. R. Healy
This playful and joyful piano work is built upon crunch chords and
their arpeggios. The chords are the squares which bounce around the
melodic line, the triangles. The squares are the harmonic rhythm (horizon¬
tal line). The melodic line has multiple voices distinguished by the different
tessitura of the piano. These two shapes could stand alone, but when they
are put together the whole picture becomes audible.
Quartet No. 4 Angel Hernandez
Because I love the music of Charles Ives so much, I decided to write a
piece in a style that would encompass many of the affects that he strove to
achieve through his music. Ives' highly personalized way of musical
expression is one that attempts to seek to communicate a transcendentalist
sort of idea through the most innovative and radical technical means
possible. In the style of Ives, I used several simultaneous bi-tonal forms and
polyrhythmic variations on a French-like Poulenc-esque main theme that
is comprised of multiple quotations from some of my other works. While
it may sometimes seem almost chaotic, it almost always returns to an
original state or it expands on a totally new and unrelated idea.
Scherzo for Woodwind Quintet Ryan Doughty
Due to its "crunchy" harmonic nature and playful rhythmic ideas, I
almost called the piece Cartoon Mayhem. The work implies the image of
cartoon characters committing senseless acts of violence upon one an¬
other; however, I thought the title sounded too silly. The idea of the scherzo
is taken literally. The ending implies a comical end to the piece...much like
a cartoon character stepping on a rake and smacking himself in the face.
Farewell to a Short Friend Aaron Stepp
I wrote this piece for a friend who wasn't very nice to my girlfriend or
me. We were friends for a while, and we still talk.. .rarely. She played string
bass, so I thought that the instrumentation would fit the crime. And for
everyone who is wondering, Liz is not the short friend.
The Ineluctable Lightness of Seeing Christopher Seal
The Ineluctable Lightness of Seeing (for percussion ensemble, soprano, and
speaker) was written for the University of Louisville Percussion Ensemble,
conducted by Dr. Greg Byrne. While there are various philosophical
implications of Ron Whitehead's poetry, the meta-theme is that of shifting
perspectives. The soprano sings the same poem four times, and empha¬
sizes a different word in each respective line of verse every time. In between
these settings, the speaker recites four poems. In addition to their own
value, these poems are intended to subtly alter the meaning of the soprano's
words the next time that she sings. This form parallels the meaning of the
title poem, because it suggests the importance of viewing life from a
plurality of perspectives.
The Ineluctable Lightness of Seeing
one eye turned in
one eye turned out
at least two worlds seen
pristine
Plowed Earth
not-knowing
not-knowing is the fundamental plowed earth of our being
it is our life source
embrace the wind
embrace my heart
born to die
there is no safety
all is demanded
expose yourself completely
accept the consequences
of your successes
and your failures
as no other dare
enlightened mind
is not special
it is natural
present yourself
as you are
wise fool
don't hesitate
embrace mystery paradox uncertainty
have courage
through fear
and boredom
have faith
be compassion
embrace the wind
embrace your heart
not-knowing is the fundamental plowed earth of our being
it is our life source
not-knowing
No More Fingers Pointing to the Moon
No more fingers pointing to the sun
only the sun itself
No more fingers pointing to the moon
only the moon itself
No more fingers pointing to the lightning
only the lightning itself
No more fingers pointing to the thunder
only the thunder itself
No more fingers pointing to the mountain
only the mountain itself
No more fingers pointing to the turquoise sky
only the turquoise sky itself
No more fingers pointing to the rain
only the rain itself
No more fingers pointing to the ocean
only the ocean itself
No more fingers pointing to sex
only sex itself
No more fingers pointing to living
only living itself
No more fingers pointing to the moon
only the moon itself
Bell and Drum
falling down
getting up
falling down
getting up
become completely crazy
bell and drum
bell and drum
green grass
red blood
be enlightened
in mud
two mountains
and a flood
bell and drum
bell and drum
after enlightenment
and falling down
then what?
there is no ideal dogma to dwell in forever
there is no ideal mistake to pay for forever
truth is a truth is a roadless land
agenbite of inwit goodbye
remorse of conscience farewell
go beyond
go beyond
go beyond
getting up
falling down
Solar Flare Aaron Stepp
When composing this work, I thought about the capabilities and
sonorities of a brass quintet and how beautiful and violent those instru¬
ments can be. I thought the work I had composed was similar to the image
of a solar flare.
Conniving Joseph A. R. Healy
Conniving is a piece about a mystical character. The piece opens as the
sneaky creature wakes up from a long night's rest. Then he starts to tip¬
toe around the "sound world," looking for someone to tease. Suddenly, a
victim is seen. The mystical creature starts to play around with his prey.
But then the creature backs off before tormenting the helpless victim. He
begins to circle around his prey anticipating the attack. Then the two
collide and twirl around the "sound world." All of a sudden, the mystical
creature tip-toes away and falls asleep, for tomorrow he will again
continue his conniving ways.
Envelopes by the Phone Christian A. Gentry
The textual source material of Envelopes by the Phone comes from three
old bank statement envelopes upon which my mother-in-law (Karen
Sorrels) doodled thoughts that occurred to her as related or completely
unrelated to her conversations on the telephone. From the envelopes I
formed semi-rational thoughts that I imagined would work well in a
concert setting. There was not any significant formula that I used in
constructing and streamlining the doodles into the current thoughts;
however, I tried to maintain the general feeling and spirit that each
envelope contains. For example, the second envelope has the words dream,
love and tonite [szc] written upon it several times. Therefore, there is a
distinct dream-like and lyrical character throughout this movement.
However, the remaining two movements consist of texts that appear to be
more unrelated. Regardless of the contextual meaning that can be derived
from each envelope, the piece was not written with any particular pro¬
gram in mind. The only intention was to center the music on the text and
vocal line. It is hoped that the performers and listeners interpret the work
in a way that is delightful and personal and free from the inhibition of
wondering what message or meaning the composer is trying to express.
I. All do not see
Hello, not you? Who's we?
Hello, all do not see.
Yesterday can't judge
Taco's shells judge everything
Wrestling around him
All do not see.
Yes, get over him
Cause you left no scary aunt
You never called him
But, he felt better
Who's we?
Don wasn't really called cheese
He mostly sent dogs
Ignitor! Ignitor! Car!!!
FIX WHAT JUST HAPPENED!
Wash my mouth too.
Hello. Not you.
You, King? Maybe you?
Busy king aids me home now
You do not see all.
Hello. Hi? Bye.
Good.
II. Dreamlove tonite
The forever guilt...
...hard
...jealous.
BIG GAS PRICE!
little front door
Love, dream, love tonite
Let one working door cause you home soon
Would one gross deposit go o.k.?
He was o.k.
Love, dream, love tonite.
Think about love again.
Dream about me again...
...okay...
You're the one again
Love...dream...
love... tonite
You're the dreamlove again...tonite.
JUBILAMENT RUSS W. WALLACE
When I started this piece, it was with the image of a person crying in
mind. I tried to emulate this image with the instrument, but as I continued
with the piece, I came to realize that there was quite a bit of joyous material
surfacing as well. As the piece progressed, I tried to balance the happy/sad
elements while also using the opportunity to explore the range of the
clarinet. The result is a piece exploring two emotions at once, and ending
up far from where I thought it would.
Mr. Babbage's Difference Engine Brad Baumgardner
Charles Babbage (1791-1871) was an English mathematician whose
Difference Engine no.l was the world's first successful calculator. Babbage
envisioned the development of more complex computing machines, but the
technology of the day couldn't keep up with his imagination. This piece
explores the triumphs and frustrations that surround the realization of a
wonderful but temporarily impossible idea.
O Dance! O Light! Onami! Jeremy Podgursky
This piece originated as a short melody for solo clarinet that I composed
in one sitting. Five years later, the melody resurfaced to become the spine
of this piece. While playing it through on the piano, I would focus on the
undulating, dancing overtones of the melodic segments. These textures
created by the natural resonances of the overtone series were what I
wanted to capture with a small chamber orchestra. Although it was not
intended to be a concerto, the clarinet is definitely the tour guide through¬
out the piece. This is the first piece of concert music I have composed since
1999, providing me with the chance to remove the rust from my atrophied
pencil. The first two versions took over 15 months to write, while the
present version was completed in three months of 2005. The title of the
piece makes reference to the wave/particle duality of light, as well as the
Japanese word for "great waves." O Dance! O Light! Onami! is dedicated to
the memory of my cousin, Judy Erlich.
VOICE AREA RECITAL
Tuesday April 4,2006 3:00 p.m.
Comstock Hall
L’hs perduta, me meschina Wolfgang Amadeus Mozart
from Le Nozze di Figaro (1756-1791)
Christina Hatfield, soprano (104- E.Tidwell)
David George, piano
Sancta Maria Pietro Mascagni
Hilary Hilliard, soprano (112-Everette)
Mary Ann Mattingly, piano
(1863-1945)
IfI were
Stephen Slaton, tenor (312-Weeks)
Mary Ann Mattingly, piano
Richard Faith
(b.1926)
Alleiseelen
Amanda Walker, soprano (312-E.Tidwell)
Samuel Hodges, piano
Richard Strauss
(1864-1949)
Faites-lui mes aveux
from Faust
Rianne Marcum, mezzo-soprano (204-Weeks)
Mary Ann Mattingly, piano
Charles Gounod
(1818-1893)
The Nightingale
Emily Neubauer, mezzo-soprano (312-E.Tidwell)
David George, piano
Ned Rorem
(b.1923)
Do Matki
Ptak
R Andrew Fowler, baritone (411-Weeks)
Samuel Hodges, piano
Henryk Gorecki
(b.1933)
My Life’s Delight
Bill Coleman, tenor (212-Everette)
Mary Ann Mattingly, piano
Roger QuiJter
(1877-1953)
School of
m usic
INWERSIIYqf 1DUISVILLE
dare to be great
presents
Melissa McDaniel,
trumpet
student of Michael Tunnell
with
Deborah Dierks, piano
Student Recital
Wednesday Evening
April 5, 2006
7:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the uti likely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Trumpet Concerto in B-flat, Op. 7 No. 3
Allegro
Adagio
Allegro
Piece en Forme de Habanera
INTERMISSION
Trumpet Concerto in E-flat
Allegro
Largo
Vivace
Etude No. 2 "Du Style"
arr.
Tomaso Albinoni
(1671-1751)
Maurice Ravel
(1875-1937)
Johann Neruda
(c. 1708-c. 1780)
Theo Charlier
(1868-1944)
Stanley Friedman
(b. 1951)
WIVERSITY^ IOUISVILLE
--
dare to be great
Thursday, April 6, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Presentation of 2006 Music History Essay Competition Awards
Edward Barret Prize (undergraduate)
John Hankins Prize (graduate)
1st Arabesque
Kathy Jo Gutgsell, harp
MUS 212/Cook
Concerto for Trumpet, Op. 64
Elegy
Ryan Nottingham, trumpet
MUS 304 / Tunnell
Deborah Dierks, piano
L'ultima canzone
(* text and translation on reverse)
Joshua Hein, tenor
MUS 212 / Weeks
Mary Ann Mattingly, piano
Concerto in E-flat
Allegro
Don Johnson, trumpet
MUS 204/Tunnell
Deborah Dierks, piano
Per la gloria d'adorarvi
from Griselda
Jay Wollmann, tenor
MUS 112 / Everette
Mary Ann Mattingly, piano
Nottumo
Myco Tran, piano
MUS 102 / Cherrix
Convocation
Dr. Jean Christensen
Claude Debussy
(1862-1918)
Lowell Liebermann
(b. 1961)
Francesco Tosti
(1846-1916)
J. B. G. Neruda
(1708-1780)
Giovanni Bononciru
(1670-1747)
Ottorino Respighi
(1879-1936)
Concerto No. 3 in E-flat
Allegro
Wolfgang Amadeus Mozart
(1756-1791)
Sara Poe, horn
MUS 212 / Heim
Deborah Dierks, piano
Concert Etude
Alexander Goedicke
(1877-1957)
Jesse Schuler, trumpet
MUS 112 / Tunnell
Deborah Dierks, piano
Morceau de Concert
Allegretto moderato
Adagio
Camille Saint-Saens
(1835-1921)
Leah Simer, horn
MUS 112 /Heim
Drew Foley, piano
Concerto No. 5 in A Major
Allegro aperto
Wolfgang Amadeus Mozart
Blaise Poth, violin
MUS 211 / Ratzenboeck
Florence Pilkinton, piano
I/ultima canzone
The Last Song
M'han detto che domani
Nina vi fate sposa,
Ed io vi canto ancor la serenata.
La nei deserti piani
La,ne la valle ombrosa.
Oh quante volte a voi l'ho ricantata!
They told me that tomorrow
Nina, you will be a bride.
yet still I sing my serenade to you!
Up on the barren plateau,
down in the shady valley.
Oh, how often I have sung it to you!
Foglia di rosa
0 fiore d'amaranto
Se ti fai sposa
Io ti sto sempre accanto.
Rose-petal
O flower of amaranth,
though you marry,
I shall be always near.
Domani avrete intorno
Feste sorrisi e fiori
Ne penserete ai nostri vecchi amori.
Tomorrow you'll be surrounded
by celebration, smiles and flowers,
and will not spare a thought for our past love;
Ma sempre notte e giorno
Piena di passione
Verra gemendo a voi la mia canzone.
yet always, by day and by night,
with passionate moan
my song will sigh to you.
Foglia di menta
0 fiore di granato,
Nina, rammenta
I baci che t'ho dato!
Mint-flower,
O flower of pomegranate,
Nina, remember
the kisses I gave you!
Ah!... Ah!...
Ah!... Ah!...
-text by Francesco Cimmino
-translation by Antonio Ciuliano
School of
music
IMVERSTIYof IOUISVIUE.
" --
dare to be great
presents
University
Jazz Ensemble II
Jerry Tolson, director
Brian Koning and Matt Yarborough,
graduate assistants
Thursday Evening
April 6, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted, in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you
PROGRAM
Hammy
Brad Dechter
88 Basie Street
Sammy Nestico (b. 1924)
Have You Met Miss Jones
Lorenz Hart (1895-1943)
Richard Rodgers (1902-1979)
arr. Jerry Tolson
A Minor Affair
Sammy Nestico
On Purple Porpoise Parkway
Tom Kubis
A Time for Love
Paul Francis Webster (1907-1984)
Johnny Mandel (b. 1935)
arr. Sammy Nestico
The Blues Machine
Sammy Nestico
Wind Machine
Sammy Nestico
Cabeza de Came
Matt Harris (b. 1960)
University Jazz Ensemble II
Jerry Tolson, director
Brian Koning and Matt Yarborough, graduate assistants
Saxophones
David Whiteman
alto
Louisville
John Pollard
alto
Rome, GA
Zach Driscoll
alto
Taylorsville, KY
John Harden II
tenor
Indianapolis, IN
Nate McCoy
tenor
Murray, KY
Merritt Navazio
baritone
Potomac, MD
Trombones
Matt Yarborough
Charlotte, NC
Allison Cross
Murray, KY
Walter Malzahn
Louisville
Krista Eifler
Newburgh, IN
Trumpets
Todd Obidowski
Butler, PA
Jennifer Grant
Louisville
Ryan Carpenter
Louisville
Brian Koning
Bolton, MA
Rhythm
Justin Homback
piano
Louisville
Anthony Ransom
piano
Marengo, IN
Jason Foureman
bass
Greensboro, NC
Jenna Mattingly
bass
Louisville
Jacob Stith
guitar
Rineyville, KY
Evan Pouchak
drums
Sand Lake, NY
School of
music
IMVERSHYof LOUISVILLE
dare to be great
presents
Patrick McGinthy,
trumpet
student of Michael Tunnell
with
Krista Wallace-Boaz, piano
Graduate Recital
Saturday Afternoon
April 8, 2006
5:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and fash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Concerto in D Major George Philipp Telemann
I. Adagio (1681-1767)
II. Allegro
III. Grave
IV. Allegro
Concertino Andre Jolivet
(1905-1974)
INTERMISSION
Solo Piece for Trumpet
I. Graceful, talking
II. Not too big, intimate
Stefan Wolpe
(1902-1972)
Concerto in F Minor Oskar Bohme
I. Allegro moderato (1870-1938?)
II. Adagio religioso
III. Rondo
This recital is given in partial fulfillment of the requirements
for the Master of Music degree.
PROGRAM NOTES
Concerto in D Major Georg Philipp Telemann
As the most prolific composer of his time, Georg Philipp Telemann com¬
posed for a variety of genres including operas, masses, motets, concerti
grossi, suites, songs, and secular oratorios. Furthermore, he composed
more than a thousand cantatas in thirty-one years. Telemann's primary
appointments included Municipal Music Director in Frankfurt from 1712-
1721, and music director of the five main churches in Hamburg from 1721
until his death. Telemann also greatly contributed to the trumpet reper¬
toire, composing many concerti and sonatas for trumpet and a chamber
ensemble.
Considered to be his most popular concerto for trumpet, many historians
believe that Telemann did not even write this work, but instead he only
edited and verified it as a project by one of his students. Several theories
lend themselves to this assumption. The final manuscript suggests that
this concerto was written around 1720, during which Telemann was
employed in Frankfurt. Telemann, though, continued writing for his
previous employer, the court of Eisenach (1708-1712), whom for which
many concerti had previously been written with soloist Nikolaus Schreck.
While Telemann had continued writing for Eisenach during the first eight
years of his stay at Frankfurt, he was in the process of relocating again;
therefore some suggest that Telemann had passed the responsibility of this
concerto to a student. Furthermore, the layout of the concerto is unlike
Telemann's previous concerti. The adagio first movement utilizes the
clarino style - extreme upper register playing. Perhaps the student did not
know the intricacies of trumpet playing, considering that two entire
movements still followed the high range demands of the first movement.
Concertino Andre Jolivet
Andre Jolivet began his compositional studies in 1920 at Notre Dame in
Paris, and continued rigorous training in fifteenth- and sixteenth-century
counterpoint style for the remainder of the decade. In 1927, he became
exposed to atonal music through Schoenberg's music. Tremendously
enthralled with the use of the orchestra and, mostly, the percussion, Jolivet
began a new path of study with Edgard Varese. Considered one of the most
prolific twentieth-century French composers, Jolivet has composed op¬
eras, incidental music, solo piano works, and concerti, to name a few. He
also led the La jeune France" with Olivier Messiaen in an effort to reject
neoclassicism in French compositions at the time. Jolivet directed the
Comedie Frangaise from 1945 until 1959, and then taught composition at
the Paris Conservatoire until his death in 1974.
The Concertino for Trumpet was composed in 1948. This was Jolivet's first
major work for trumpet; he would compose three more. Adhering to his
work with Varese, Jolivet uses elements of dissonance, but also uses flash
and intensity to create massive sounds in the orchestra. This work for
trumpet has become popularized by French trumpet virtuoso Maurice
Andre, for whom which Jolivet has composed several works. The Concertino
takes after Stravinsky's Le Sacre du Printemps, utilizing classical primitive
motifs, rhythmic chord patterns, and "noise-like" effects.
Solo Piece for Trumpet (1966) Stefan Wolpe
In regards to Stefan Wolpe's music, composer Elliot Carter has stated in
Perspectives in New Music: "Comet-like, radiance, conviction, fervent inten¬
sity, penetrating thought on many levels of seriousness and humor,
combined with breathtaking originality marked the inner and outer life of
Stefan Wolpe, as they do his compositions." These characteristics can be
heard in his brief work for solo trumpet. The conversation-like first
movement trades elements of humor and sternness, while the second
movement ends with the fervent intensity that Carter had described.
Stefan Wolpe was bom in Berlin in 1902, and graduated from the Berlin
Academy of Music. His primary instructors included Ferruccio Busoni,
Anton von Webern and Hermann Scherchen, while his music was influ¬
enced by composers such as Paul Hindemith, Eric Satie, Paul Whiteman,
and Alexander Scriabin. In 1933 Wolpe left Berlin and moved to Vienna
where he studied with Webern, and shortly thereafter he went to Palestine
and served as chairman of the composition department at the Conserva¬
tory of Jerusalem until 1938. In 1939, Wolpe traveled to the United States
and attained citizenship. He had much success, serving as musical director
at Black Mountain College and founded the Contemporary Music School in
New York City in 1948. Solo Piece for Trumpet was premiered in 1966 by
Ronald Anderson.
While a more substantial piece had been planned, Wolpe's declining health
prevented this, and the result was a three-minute unaccompanied solo
work. The composition calls for a trumpet in C for the first movement, and
an F-alto trumpet for the second movement. Even in 1966, this instrument
was obsolete; therefore the composer suggested a B-flat trumpet as an
alternative.
Concerto in E (F) Minor
OskarBohme
Oskar Bohme was bom in Germany in 1870, and studied comet with his
father. Already advanced as a cornettist, Bohme toured as a soloist at the
age of 15. From 1894-1896, he played in the orchestra of the Royal Hungar¬
ian Opera House in Budapest. After that appointment he studied compo¬
sition with Salomon Jadassohn, and then moved to St. Petersburg to play
in the Mariinsky Theatre Orchestra and to teach at a musical college on
Vasilyevskiy Island. In 1934, he was banished by Stalin for being of
German origin to the area of Chkalov, where he finished his career in
teaching. The exact date of his death is unknown.
The Concerto in E Minor, most often performed in F minor, was written in
1899. The concerto was transposed to F minor most likely due to easily
being performed on B-flat trumpet and to the scarcity of the A trumpet.
This is Bohme's most frequently performed work from his minute reper¬
toire (approximately 46 works).
School of
music
INIVERSITYof IDUISVILIE
dare to be great
presents
Lindsay Pummell, horn
student of Bruce Heim
and
Sarah Finger, trombone
student of Brett Shuster
with
Deborah Dierks, piano
and
Glass Brass
Student Recital
Saturday Afternoon
April 8, 2006
4:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event office or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
agatelle
■/So
onate
I. Allegro moderato maestoso
II. Allegretto grazioso
III. Allegro pesante
IV. Allegro moderato maestoso
'Valse Triste
\/Concert pour trombone et piano
/ II. Andante grave; Mosso
Frost Fire
I. Bright and Fast
Hermann Neuling
(1897-1967)
Paul Hindemith
(1895-1963)
Reinhold Gliere
(1874-1956)
Launy Grondahl
(1886-1960)
Eric Ewazen
(b. 1954)
Glass Brass
Brian Glass, trumpet Lindsay Pummell, horn
Charles Calloway, trumpet Sarah Finger, trombone
David Jaggie, tuba
INTERMISSION
Rondo
Thoughts of Love
Concertino Op. 45 No. 5
I. Allegro moderato
II. Lento cantabile
III. Finale: Allegro vivace
Quintet
Glass Brass
Arnold Cooke
(1906-2005)
Arthur Pryor
(1870-1942)
Lars Erik Larsson
(1908-1986)
Michael Kamen
(1 948-2003)
music
INIVERSIIYqf 1DUISVIUE
«-*'■--
dare to be great
presents
Dominic Rotella
horn
student of Bruce Heim
with
Deborah Dierks, piano
and
Lindsay Pummell, narrator
Student Recital
Saturday Afternoon
April 8, 2006
2:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Thema und Variationen, Op. 13
Sonata for Horn in F
I. Massig Bewegt
II. Ruhig Bewegt
III. Lebhaft
PAUSE
Berceuse
Aesop's Fables
The Tortoise and the Hare
The Mouse and the Lion
The Wind and the Sun
The Dove and the Ant
The Mule
Franz Strauss
(1822-1905)
Paul Hindemith
(1895-1963)
Jean-Michel Damase
(b. 1928)
Anthony Plog
(b. 1947)
School of
music
INIVERSTTYof I0UISVILLE.
dare to be great
presents
University
Early Music
Ensemble
Jack Ashworth, director
Sunday Evening
April 9, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Lord, Thou Art Become Gracious John Blow
(1649-1708)
SINGERS
Lord, How Long Wilt Thou Be Angry?
SINGERS
Christopher Camp, tenor
Jason Mallory, baritone
Austin Echols, bass
William Croft
(1678-1727)
Karen Griffin, harpsichord
Dances from The Island Princess (1699) attr. Jeremiah Clarke
1st Act Tune (c. 1674-1707)
Minuet
2nd Act Tune
3rd Act Tune
4th Act Tune - Round
Winter Dance with a Stove, a Dutchman, with an Old Miser
STRINGS AND HARPSICHORD
I Will Hearken John Blow
Christopher Camp, tenor
Jason Mallory, baritone
Austin Echols, bass
WITH ENSEMBLE
Aim an
Corant
Ground
Henry Purcell
(1659-1695)
INTERMISSION
Rondeau
Scotch Tune (from Amphytrion)
Purcell
Purcell
RECORDERS
Lord, What Is Man?
Jason Mallory, baritone
WITH CONTINUO
Sonata
Scott Moore & Marisa Barnes, violins
James Vaughn, cello
Jack Ashworth, harpsichord
Selections from Dido and Aeneas (c. 1689)
Overture
STRINGS
To the Hills and Vales
CHORUS
The Triumphing Dance
STRINGS
In Our Deep Vaulted Cell
CHORUS
Echo Dance of the Furies
STRINGS
Come Away, Fellow Sailors
CHORUS
The Sailors Dance
STRINGS
Thy Hand, Belinda...When I Am Laid in Earth
Cyndi Williams, soprano
WITH STRINGS
With Drooping Wings
CHORUS
Purcell
Purcell
Purcell
KfcCORDERS
University Early Music Ensemble
Jack Ashworth, director
Singers
Virginie Achim
Karen Griffin
Liz Adams
Chris Hogan
John Aurelius
Jason Mallory
Jennifer Baker
Chris Matthews
Marisa Barnes
Scott Moore
Mehera Baugher
Mat Murphy
Michael ben-Avraham
Charlie Patton
Christopher Camp
Sarah Powell
Huifang Chen
Elizabeth Russell
Monica Clarke
SeungYong Shin
Rob Collier
Kim Texter
Shaun David Crowdus
Jessica Towse
Nick Drake
Joey Wilkerson
Linnea Duckworth
Austin Echols
Cyndi Williams
Instrumentalists
Liz Adams
bass
Jack Ashworth
harpsichord
John Aurelius
recorder
Marisa Barnes
violin
Monica Clarke
viola
Allen Gilfert
recorder
Karen Griffin
harpsichord
Scott Moore
violin
Juan Carlos Ortega
violin
Charlie Patton
cello
Gerome Stewart
violin
Ty-Juana Taylor
recorder
James Vaughn
cello
I would especially like to thank
Huifang Chen , Jason Mallory and SeungYong Shin
for helping prepare the chorus in tonight's program.
TEXTS
Lord, thou art become gracious unto thy land,
thou hast turned away the captivity of Jacob.
Thou has forgiven the offence of thy people,
and covered all their sins.
Thou hast taken away all thy displeasure,
and turned thyself from thy wrathful indignation.
Turn us then, O God our Saviour,
and let thine anger cease from us.
I will hearken what the Lord God will say concerning me,
for he shall speak peace unto his people,
and to his saints, that they turn not again.
Lord, how long wilt thou be angry?
Shall thy jealousy burn like fire forever?
O remember not our old sins,
but have mercy upon us, and that soon:
for we are come to great misery.
Help us, O God of our salvation,
for the glory of thy name;
O deliver us, and be merciful unto our sins, for thy name's sake.
So we, that are thy people and the sheep of thy pasture,
shall give thee thanks for ever:
arid will always be showing forth thy praise
from one generation to another.
I will hearken what the Lord God will say concerning me: for he shall speak
peace unto his people, and to his saints, that they turn not again. For his
salvation is nigh them that fear him: that glory may dwell in our land.
Mercy and truth are met together: righteousness and peace have kissed
each other. Truth shall flourish out of the earth: and righteousness hath
looked down from heaven. Yea, the Lord shall show lovingkindness: and
our land shall give her increase. Alleluia.
Lord, what is man, lost man, that Thou shouldst be so mindful of him? That
the Son of God forsook, his glory. His abode. To become a poor, tormented
man! The Deity was shrunk into a span. And that for me, O wondrous love,
for me. Reveal, ye glorious spirits, when ye knew the way the Son of God
took to renew lost man, your vacant places to supply; Blest spirits tell,
which did excel, which was more prevalent, your joy or your astonish¬
ment? That man should be assum'd into the Deity, that for a worm a God
should die. Oh! for a quill, drawn from your wing to write the praises of
eternal love; Oh! for a voice like yours, to sing that anthem here, which once
you sung above. Hallelujah.
To the hills and the vales, to the rocks and the mountains,
To the musical groves and the cool shady fountains.
Let the triumphs of love and of beauty be shown.
Go revel, ye Cupids, the day is your own.
In our deep vaulted cell the charm we'll prepare.
Too dreadful a practice for this open air.
Come away, fellow sailors, come away.
Your anchors be weighing;
Time and tide will admit no delaying;
Take a bowsey short leave of your nymphs on the shore.
And silence their mourning with vows of returning;
Tho' never intending to visit them more.
Thy hand, Belinda; darkness shades me.
On thy bosom let me rest;
More I would but death invades me;
Death is now a welcome guest.
When I am laid in earth,
may my wrongs create
No trouble in thy breast.
Remember me! but ah! forget my fate.
With drooping wings, ye Cupids come.
And scatter roses on her tomb,
Soft and gentle as her heart.
Keep here your watch, and never part.
School of
music
IMVERSITYqf IDUISVILLE
dare to be great
presents
Samuel Farley,
piano
student of Jim Connerley
Graduate Recital
Sunday Afternoon
April 9, 2006
2:00 p.m.
Margaret Comstock Hall
Smoking is not permitted in the School of Music building. In the unlikely event offire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
When Will the Blues Ever Leave Ornette Coleman
(b. 1930)
Dolphin Dance Herbie Hancock
(b. 1940)
The Song is You Jerome Kern (1885-1945)
Oscar Hammerstein II (1895-1960)
Single Petal of a Rose Duke Ellington
(1899-1974)
Stella by Starlight Victor Young (1900-1956)
Ned Washington (1901-1976)
Evidence Thelonious Sphere Monk
(1917-1982)
The Spinner Samuel Farley
(b. 1981)
Broadway Blues Ornette Coleman
Additional perpormers
Dan Dorff, drums
Jason Foureman, bass
Brian Koning, trumpet
Matt Yarborough, trombone
Alexis Marsh, saxophone
Janelle Reichman, saxophone
Mike Darrah, piano
This recital is given in partial fulfillment of the requirements
for the Master of Music degree.
PROGRAM NOTES
When Will the Blues Ever Leave Ornette Coleman
When Will the Blues Ever Leave" is from Coleman's very first recording
Something Else!!!!: The Music of Ornette Coleman. In 1958, Contemporary
Records released this album to mixed reviews. Coleman composed and
recorded it while he was still living in LA where he had almost no respect
in the music community. I first heard this composition on Dick Sisto's radio
show The Inner Ear, and was immediately drawn to its lyricism. It is a
twelve-bar blues that has a very interesting and surprising line.
Dolphin Dance Herbie Hancock
"Dolphin Dance" is part of the Herbie Hancock album entitled Maiden
Voyage recorded in 1965. Though it now stands alone as one of the most
popular of the jazz standards, it was originally written as part of a
collection of pieces inspired by the sea. The lasting appeal of this compo¬
sition lies in the way it was constructed. The complex structure of the
harmony has a clear rise and fall while exhibiting the richness of Hancock's
harmonic vocabulary. This is the backdrop for a cohesive melody that
expresses the calm excitement of seeing such a dance at sea.
The Song is You Jerome Kern/Oscar Hammerstein II
The Keith Jarrett Trio is definitely one of my main influences and I wanted
to pay tribute to them by doing one of the standards that they have
recorded. The tune comes from a 1932 show Music in the Air. I'm particularly
drawn to the joyful spirit of this song. The melody is strong and the simple
harmonic structure gives improvisational freedom. The modulation to the
submediant on the bridge is a nice effect and adds a lot of energy to the
overall sound of the song.
Single Petal of a Rose Duke Ellington
During a European tour in 1958, Duke Ellington and his Orchestra were
invited to play for the Queen of England at an annual musical affair.
Ellington, impacted by the Queen's grace and hospitality during his stay,
later wrote an entire suite in honor of her majesty as a gift of thanks. This
piece is the fifth part of the six-part suite and is a work of simplicity and
depth. I was introduced to this by Phil DeGreg.
Stella by Starlight
Victor Young/Ned Washington
"Stella" is a standard that everyone knows. It was originally written as
a movie theme for the ghost flick The Uninvited. For marketing purposes
lyrics were added later and it did receive some pop success through the
likes of Frank Sinatra and Harry James. It has one of the most unique
harmonic progressions of that era and utilizes tension and release in a
natural but different way.
Evidence Thelonious Sphere Monk
Thelonious Monk is one of the most interesting personalities of the jazz
world. His writing and playing has been a source of controversy for some
and a source of inspiration for others. "Evidence" is an example of how
often he would set two opposing ideas together. For example, in "Pannonica,"
he sets a lyrical melody against a very complicated set of chord changes.
Similarly, "Evidence" has a very syncopated and unpredictable melody
set to a very common progression.
The Spinner Samuel Farley
"The Spinner" is a contrafact (an original melody put to a preexisting set
of chord changes) on the standard song "All the Tilings You Are." My goal
initially was to render it unrecognizable by using substitute changes.
Then, I composed a melody that somewhat disguised the form. Once I was
finished, I decided to leave the introduction essentially the same because
it is fun to play.
Broadway Blues Ornette Coleman
"Broadway Blues" is from the record New York is Now with Elvin Jones,
Dewey Redman, and Jimmy Garrison. Coleman is known for being one of
the pioneers of free jazz. He is also a dedicated composer known for his
lyricism and inventiveness. The improvisational section of this "blues is
free of form and not restricted to any particular key.
School of
*music
IMVERSITYof 10UISVILLE
dare to he great
presents
Tiffany Wilson,
flute
student of Kathleen Karr
with
Deborah Dierks, piano
Senior Recital
Sunday Afternoon
April 9, 2006 .
4:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devicesand flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Hamburger Sonate in G Major Carl Philipp Emanuel Bach
(Hamburg, 1786) (1714-1788)
Allegretto
Rondo
Between Two Worlds (Ukiyo-e m) (1982) George Rochberg
Five Images for Flute and Piano (1918-2005)
Fantasia
Scherzoso (fast dance)
Night Scene (A)
Sarabande (slow dance)
Night Scene (B)
Rapid-Fire (1992) Jennifer Higdon
r (b. 1962)
INTERMISSION
Sonata "Undine," Op. 167 (1882)
Allegro
Intermezzo
Andante tranquillo
Finale
Carl Reinecke
(1824-1910)
I Dream'd in a Dream (2002) Glen d. cor (
This recital is giver, in partial fulfillment of the requirements
for the Bachelor of Music degree.
PROGRAM NOTES
Hamburger Sonate in G Major Carl Philipp Emanuel Bach
Carl Philipp Emanuel Bach (1714-1788) was a German composer
and the second son of J. S. Bach, his only teacher. While harpsi¬
chordist at the court of Frederick the Great, his chief duty for 28
years (1738-67) was to accompany the monarch's performances on
the flute. Bach succeeded his godfather, Georg Philipp Telemann,
as musical director at Hamburg. His 2 volumes of sonatas (1742-
43) and his 20 symphonies established the typical classical forms of
such works and powerfully influenced both Haydn and Beethoven.
He also composed other keyboard music and sacred choral music.
His craftsmanship was outstanding in the period between the
baroque and classical periods.
The Hamburger Sonate is a light-hearted, two-movement work
that shows the exquisite detail of the baroque style. The content of
his work, though full of invention, lies within a somewhat narrow
emotional range, but it is not less sincere in thought than polished
and felicitous in phrase. He was probably the first composer of
eminence who made free use of harmonic color for its own sake.
Between Two Worlds George Rochberg
In George Rochberg's words. Between Two Worlds "suggests not
only the realms of nature and culture between which we find
ourselves tenuously situated, but also strong.. .feelings experienced
while living briefly in the strife-tom Middle East." Between Two
Worlds is the third piece in a series of chamber works titled Ukiyo-
e. Ukiyo-e is an ancient style of wood block print that is an
illustration of images from the mind rather than real life. The five
images for flute and piano resemble the sounds heard by the
Shakuhachi, a Japanese wind instrument.
Bom in Paterson, New Jersey, on July 5,1918, Rochberg began his
studies in composition at the Marines School of Music, and, after
serving as an infantry lieutenant in World War II, resumed them
again at the Curtis Institute of Music. He taught at the Curtis
Institute from 1948 to 1954; and in 1960 he joined the faculty of the
University of Pennsylvania, where he served as a chairman of the
Department of Music until 1968. Rochberg was among the most
successful artists of his generation, expanding the ideas of twelve-
tone music and re-embracing tonality. He retired from teaching in
1983 as Emeritus Annenberg Professor of the Humanities.
George Rochberg died in Bryn Mawr, Pennsylvania, on May 29,
2005.
Rapid-Fire Jennifer Higdon
This work for solo flute is supposed to be brutal and raucous. Quite
a bit of the piece is made up of sounds achieved by alternate
fingerings or altered timbres due to over-blowing. At times the
player is asked to actually read notation on several different levels:
fingering a certain speed, while tonguing at a different speed, while
altering the air pressure (speed). Rapid-Fire is about the violence of
the cities, more specifically, the innocent young who are cut down
in their homes and on the streets. It is an expression of rage, pain
and of disbelief. It is the fear and the terror. It is an inner-city cry.
Jennifer Higdon is an active composer and flutist in the Philadel¬
phia area where she teaches at the Curtis Institute of Music.
Sonata"Undine" CarlReinecke
While the title "Undine" might suggest a type of program music, it
only merely suggests a mood by directing thoughts of the water
nymph "Undine," who sacrifices herself for the love of a mortal,
only to find that he deceives her. This four-movement work
displays Carl Reinecke's best qualities of romanticism, with its rich
chromatic harmonies, texture and sense of fluidness.
Carl Reincke (1824-1910) was respected as one of the most influen¬
tial and versatile musicians of the time, and as one of the most
highly esteemed composers.
I Dream'd in a Dream
Glen B. Cortese
I Dream'd in a Dream is inspired by text of Walt Whitman:
I dream'd in a dream I saw a city invincible to the attacks of
the whole rest of the earth,
I dream'd that was the new city of Friends,
Nothing was greater there than the quality of robust love,
it led the rest.
It was seen every hour in the actions of the men of that city.
And all their looks and words.
-Walt Whitman (1860)
It was commissioned by the Cincinnati Flute Symposium and
Bradley Gamer and was premiered June 25, 2002 at CCM.
Mr. Cortese is an accomplished composer and winner of numerous
awards including the Charles Ives Scholarship from the American
Academy of Arts and Letters, a two-time winner of the Joseph E.
Beams Prize, and a CAPS Grant from the New York Council on the
Arts. He is also the recipient of the Arthur Judson Foundation
Award for a Young American Conductor. He has appeared as guest
conductor both in the United States and abroad with the Sympho¬
nies of New Jersey, Florida Philharmonic, Austin, Mexico City
Philharmonic, North Carolina, Colorado Springs, Bangor, Merid¬
ian, Queens, New Amsterdam, The New Orleans Philharmonic,
the International Chamber Orchestra, the Belarus State Philhar¬
monic, Noorhollands Philharmonisch, Orquesta Sinfonica Carlos
Chavez, San Francisco Conservatory, Cleveland Institute, and the
Altenburg Landeskappele Orchestra.
School of
music
IMVERSITYof IOUISVILLE.
^ —■■■ - _
dare to be great
presents
University
Symphonic Band
and
Wind Symphony
Frederick Speck, director
Monday Evening
April 10, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event offire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please swence cell phones, electronic watches and pagers. Thank you.
PROGRAM
University Symphonic Band
Canzona (1951) Peter Mennin (1923-1983)
Der Traum des Oenghus, Teil 1 (1993/94) Rolf Rudin (b. 1961)
A Curtain-Raiser and Country Dance Richard Franco Goldman
(1941) (1910-1980)
Aaron Bell, conductor
In partial fulfillment of the requirements for the Master of Music degree
From Tropic to Tropic (1898) Russell Alexander (1877-1915)
arr. Glenn Cliffe Bainum
Sarah Danyi, conductor
In partial fulfillment of the requirements for the Master of Music degree
PAUSE
University Wind Symphony
Festive Overture (1955) Dmitri Shostakovich (T906-1975)
trans. Donald Hunsberger
Celebrating the 100th anniversary of the birth of Dmitri Shostakovich
Contre Qui, Rose (1993) Morten Lauridsen (b. 1943)
trans. H. Robert Reynolds
Suite Frangaise (1944) Darius Milhaud (1892-1974)
1. Normandie
2. Bretagne
3. lie de France
4. Alsace-Lorraine
5. Provence
Fanfares from the opera Libuse Bedrich Smetana (1824-1884)
(1870/72) arr . Vaclav Nelhybel
Savannah River Holiday (1953/1973)
Ron Nelson (b. 1929)
University Symphonic Band
Frederick Speck, director
Trumpets
Georgetown Don Johnson +
Zachary Schell
Charles Calloway
+ Louisville Todd Obidowski
Villa Hills Ryan Carpenter
West Chester, OH Aaron Bell
Smiths Grove Joel Watson
Georgetown
Pekin, IN Trombones
Brent Crimm t
Allison Cross
Cleveland Heights, OH Krista Eifler
Piccolo
John Aurelius
Flutes
Heather McCullum
Amanda Adkins
Lara Wolff
Ty-Juana Taylor
John Aurelius
Megan Johnson
Oboe
Andy Buchholz
Clarinets
Mary Rada t
Amanda Lochner
Carolyn Fassio
Adam Thomas
Michael Burkhead
Lashanda Walker
Bass Clarinet
Courtney Drown
Bassoon
Ashley Pickering
Alto Saxophones
Amy Knight t
Matthew Reidinger
Tenor Saxophone
George Flores
Louisville
Sellersburg, IN
Pendleton
Henderson
Louisville
Shelbyville
Georgetown
Louisville
Newport, TN
Floyds Knobs, IN
Winchester
Bass Trombones
Evan Bullock
Euphoniums
Brendan Vincent t
Jeff Buehring
Kim Texter
Brandon Thomas
Tubas
Sara Doolin t
Mat Murphy
Stephanie Bragg
Percussion
Kelley Gibson t
Phil Turner
Alyssa Spaulding
Allen Artry
Raywick
Louisville
Cleveland, GA
Butler, PA
Louisville
Louisville
Henderson
Pewee Valley
Murray
Newburgh, IN
Louisville
Winchester
New Albany, IN
Louisville
Elizabethtown
Harrodsburg
Columbus, OH
Elizabethtown
Goshen
New Albany, IN
Goshen
Indianapolis, IN
Baritone Saxophone
Melanie Pulliam Owensboro
Horns
Miranda Polzer +
Sara Poe
Jessica Niedwick
Matt Peyton
Stephanie Radcliffe
Montreal, Canada
Huntingburg, IN
Georgetown
Marysville, IN
Lexington
t principal
University Wind Symphony
F rederick Speck, director
Piccolo
Tyra BIasher+ Louisville
Flutes
Amanda Taylor+ Benton
Katie Fondrisi* New Albany, IN
Penelope Quesada Lima, peru
Tiffany Wilson Ashland
Oboes
Gretchen Reiter+ Crescent Springs
Wendy Frazee Franklin, OH
Clarinets
Noriko Taka+* Hiroshima, japan
Amber Richeson Owensboro
Michelle Linder Cincinnati, OH
Sharon Edmonds Louisville
Heather Stokes Louisville
Amanda Wright Alexandria
Chris Phillips Milford, OH
Bass Clarinet
Brad Baumgardner* Nashville, TN
Trumpets
Ryan Nottingham+ Louisville
Matt Janssen* Watseka, IL
Michael Swope* Connersville, IN
Ryan McCaslin* Babylon, NY
Melissa McDaniel* Collierville, TN
Daniel Whaley* Knoxville, TN
Trombones
Audrey Davis+ Louisville
Sarah Finger Anderson, IN
Aaron Stepp Glasgow
Bass Trombones
Anastasi Fafalios* Belle Vernon, PA
Euphoniums
Daniel Stull+ Payneville
Matt Byrum Louisville
Sarah Danyi* Oregon, OH
Tubas
Aaron Gaither+ Louisville
Adam Yankowy Louisville
Bassoons
Carrie Baxter+*
Erica Jones
Alto Saxophones
Kevin Arbogast+
Jennifer Hoffmann
Fredonia, NY
Ft. Eric, Ont., Canada
Bowling Green
Louisville
Percussion
Matt Greenwood+
Whitney Winstead
Andrew Powell
Phil Turner
Double Bass
Nick Wooldridge
Floyds Knobs, IN
Louisville
Benton
New Albany, IN
Louisville
Tenor Saxophone Piano
Tommy Zinninger Louisville Sarah Danyi* Oregon, OH
Baritone Saxophone
Daniel Reams Cecilia
Horns
Kate Reyman+ Decatur, IL
Dominic Rotella Louisville * graduate student
Lindsay Pummell Franklin, OH f principal
Nickie Lewis Louisville
Leah Simer Centralia, IL
School of
music
IMVERSHYqf IDULSVILIE
^ -—
dare to be great
presents
University
Jazz Ensemble I
John La Barbera, director
Tuesday Evening
April 11, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you
PROGRAM
Art's Groove
Steve Allee
(b. 1950)
High Maintenance
Gordon Goodwin
(b. 1949)
Long Yellow Road
Toshiko Akiyoshi
(b. 1929)
Along Came Betty
Benny Golson
(b. 1929)
Wctibon's waiK
John La Barbera
(b. 1945)
There's the Rub
Gordon Goodwin
Realization
Dan Dorff
(b. 1980)
with Sarah Dorff Schmid & Amanda Dorff Heisler, vocalese
University Jazz Ensemble I
John La Barbera, director
Saxophones
David Clark
alto
Pine Bluff, AR
Alexis Marsh
alto
Winnipeg, CANADA
Tommy Zinninger
tenor
Louisville, KY
Jacob Goran
tenor
Champaign, IL
Luke Barker
baritone
Louisville, KY
Trombones
Matt Yarborough
Chris Fortner
Audrey Davis
Anastasi Fafalios
bass
Charlotte, NC
Floyds Knobs, IN
Louisville, KY
Belle Vernon, PA
Trumpets
Ryan Nottingham
Brian Koning
Matt Lawson
Brent Flail
Louisville, KY
Worchester, MA
Portland, ME
Winston-Salem, NC
Rhythm
Jon Epley
guitar
Greeneville, TN
Sam Farley
piano
Canton, OH
Natalie Boeyink
bass
Bloomington, IN
Dan Dorff
drums
Cincinnati, OH
f
VOICE AREA RECITAL
Tuesday - April 11,2006 - 3:00
p.m.
Comstock Hall
(final voice area recital of the semester)
Si, tra i ceppi
Justin Wilkey, baritone (112-Everette)
Andrea Reynolds, piano
George Frederick Handel
(1685-1759)
Pretty Ring Time
Alane Hart, soprano (112-E.Tidwell)
Samuel Hodges, piano
Peter Warlock
(1894-1930)
Lied der Mignon
Lindsey Honaker, soprano (112-E.Tidwell)
Mary Ann Mattingly, piano
Franz Schubert
(1797-1828)
Lydia
Jay Wollmann, tenor (112-Everette)
Mary Ann Mattingly, piano
Gabriel Faure
(1845-1924)
Del cabello mas sutil
Libby Ford, soprano (112-E.Tidwell)
Robert Boozman, piano
Fernando Obradors
(1897-1945)
La Promessa
Kate Welsh, soprano (104-E.Tidwell)
David George, piano
Gioacchino Rossini
(1792-1868)
The Roadside Fire
Ralph Vaughan Williams
(1872-1958)
Text by Robert Lewis Stevenson
Gary Clark, baritone (212-Everette)
Samuel Hodges, piano
A Summer Idyll
Joshua Hein, tenor (212-Weeks)
Mary Ann Mattingly, piano
Michael Head
(1900-1976)
Mein Herr Marquis from Die Fledermaus
Amanda Tarryn Bryant, soprano (312-Everette)
Mary Ann Mattingly, piano
Anakreons Grab
Christopher Shortt, baritone (312-Weeks)
Mary Ann Mattingly, piano
ACCOMPANIST FEES ARE DUE!
Payment is made to UofL School of Music and submitted to
Aaron Vowels in Room 118 - Music Office.
These must be paid before exam.
Those not paid as of April 11,2006:
TIDWELL :
C.Brown, M.Cruse,L.Ford, C.Hatfield, L.Honaker, E.McCollough, E.Neubauer,
A.Reynolds, A.Walker, K.Welsh
EVERETTE:
A.Bryant, G.Clark, B.Cofeman, H.Hilliard, SJPatrick, J.Wiikev, N.Wilson
WEEKS:
C.Camp, R.Case, A.Fowler, M.Hariis, J.Hein, J.Mallory, T.Mills, C.Moslev,
C.Shortt, S.Slaton, B.Tierney
MALLORY:
S.Brennan, K.Brown, A.Craker, L.Fejes, J.Harrison, H.McAllister, M.Patrick,
S.Powell, M.Tran, A.Yankovy
— IMPORTANT DATES
University Opera Theatre MIKADO Friday - Apr-21,8:00 p.m,
Sunday - Apr. 23,2:00 p.m.
Graduate Recital JASON MALLORY Tuesday - Apr. 25,7:00
Wed. April 26 10:00-11:30
Wed. April 26 1:00-4:36
Thurs, April 27 10:00-1:00
Fri. April 28 12:30-4:30
Johann Strauss
(1825-1899)
Hugo Wolf
(1860-1903)
EXAMS
1/2 hr. lessons:
Soph, exams:
Hr. lessons:
TEXTS and TRANSITIONS
Handel
Si, tra I ceppi e le ritorte
La mia fe risplendera.
No, ne pur la stessa morte
II mio foco estinguera.
Schubert
Lied der Mignon (from Goethe’s “Wilhelm
Nur wer die sehnsucht kennt,
Weiss, was ich leide,
Nur wer die sehnsuch kennt,
Weiss, was ich leide!
Allein und abgetrennt von aller freude,
Seh’ich an’s firmament nach jener seite.
Ach! Der mich liebt und kennt,
1st in der weite.
Es schwindelt mir,
Es brennt mein eingeweide,
Es schwindelt mir,
Es brennt mein eingeweide.
Nur wer die sehnsucht kennt,
Weiss, was ich leide,
Nur wer die sehnsucht kennt,
Weiss, was ich leide!
Faur£
Lydia sur tes roses joues
Et sur ton col frais et si blanc
Roule etincelant
L'or fluide que tu d^noues
Le jour qui luit est le meilleur
Oublions l'^temelle tombe.
Laisse tes baisers de colombe
Chanter sur ta Idvre en fleur
Un lys cache repand sans cesse
Une odeur divine en ton sein;
Les ddlices comme un essaim
Sortent de toi, jeune deesse
Je t'aime et meurs, 6 mes amours.
Mon &me en baisers m'est ravie!
0 Lydia, rends-moi la vie,
Que je puisse mourir, mourir toujours!
Yes, even in chains and bonds
My faith will shine
No, not even death itself
Will extinguish my flame.
Meister”)
Ye who have yearned alone
My grief can measure.
Ye who have yearned alone
My grief can measure!
Alone and detached of all joy,
In yonder sky I see but one direction.
Alas! He’s far, who gave to me
His heart’s affection.
It makes me faint
As though my heart were burning.
It makes me faint
As though my heart were burning.
Ye who have yearned alone
My grief can measure.
Ye who have yearned alone
My grief can measure!
Lydia, on your rosy cheeks.
And on your neck, so fresh and white.
Flow sparklingly
The fluid golden tresses which you loosen.
This shining day is the best of all;
Let us forget the eternal grave,
Let your kisses, your kisses of a dove.
Sing on your blossoming lips.
A hidden lily spreads unceasingly
A divine fragrance on your breast;
Numberless delights
Emanate from you, young goddess,
I love you and die, oh my love;
Kisses have carried away my soul!
Oh Lydia, give me back life,
That I may die, forever die!
Obradors
Del cabello mas sutil
Que tienes en tu trenzado
Para taerte a mi lado
Una alcarraza en tu casa
Chiquilla, quisiera ser darling,
Para besarte en la boca
Cuando fiiertas a beber
Ah!
Of the hair most delicate
I have to make a chain
to bring you to my side
A jug in your house
I would like to be
to kiss you on the mouth
when you went to drink.
Ah!
J.Strauss
Mein Herr Marquis, ein Mann wie Sie
Sollt' besser das verstehn,
Darum rate ich, ja genauer sich
Die Leute anzusehen!
Die Hand ist doch wohl gar zo fein, hahaha.
Dies Fiisschen so zierlich und klein, hahaha.
Die Sprache, die ich filhre
Die Taille, die Toumtire,
Dergleichen finden Sie
Bei einer Zofe nie!
Gestehn mtissen Sie filrwahr,
Sehr komisch dieser Irrtum war!
Ja, sehr komisch, hahaha,
Ist die Sache, hahaha.
Drum verzeihn Sie, hahaha,
Wenn ich lache, hahaha!
Ja, sehr komisch, hahaha
Ist die Sache, hahaha!
Sehr komisch, Herr Marquis, sind Sie!
Mit dem Profil im griech'schen Stil
Beschenkte mich Natur:
Wenn nicht dies Gesicht schon genilgend spricht.
So sehn Sie die Figur!
Schaun durch die Lorgnette Sie dann, ah,
Sieh diese Toilette nur an, ah
Mir scheint wohl, die Liebe
Macht Dire Augen trtlbe,
Der schflnen Zofe Bild
Hat ganz Ihr Herz erfllllt!
Nun sehen Sie sie Uberall,
Sehr komisch ist filrwahr der Fall!
Ja, sehr komisch, hahaha
Ist die Sache, hahaha
Drum verzeihn Sie, hahaha,
Wenn ich lache, hahaha!
Wolf
My dear marquis, a man like you
Should better understand that.
Therefore, I advise you to look more
Closely at people!
This hand is surely far too fine.
This foot so dainty and small,
The manner of speaking which I have.
My waist, my bustle,
These would never be found
On a lady's maid!
You really must admit,
This mistake was very comical!
Yes, very comical, hahaha.
Is this matter, hahaha.
So pardon me, hahaha.
If I laugh, ha ha ha!
Yes, very comical, hahaha.
Is this matter, hahaha
You are very comical, Marquis!
With this profile in Grecian style
Being a gift of nature;
If this face doesn't say enough,
Just look at my figure!
Just look through your lorgnette, ah
At this outfit, ah
It seems to me that love
Has clouded your eyes,
The image of your chambermaid
Has quite filled your heart!
Now you see her everywhere,
This is truly a veiy comic situation!
Yes very comical, hahaha
Is this matter, ha ha ha,
So pardon me , ha ha ha,
If I laugh, ha ha ha!
Anakreons Grab
Wo die Rose hier blUht,
wo Reben um Lorbeer sich schlingen.
Wo das Turtelchen lockt,
wo sich das Grillchen ergotzt,
Welch ein Grab ist hier,
das alle GOtter mit Leben
Schon bepflanzt und geziert?
Es ist Anakreons Ruh.
Profiling, Sommer, und Herbst
genoB der glOckliche Dichter;
Vor dem Winter hat ihn endli’ch
der Htigei geschiitzt.
Here, where the rose blooms,
where vines entwine the laurel,
where the turtledove flirts,
where the cricket delights
what grave is this here,
that all the gods and Life
Have so prettily decorated with plants?
It is Anacreon’s grave
Spring, summer, and autumn
did that happy poet enjoy;
from winter now finally,
This mound has protected him.
School of
music
INWERSITV of I0UISVTLLE
dare to be great
presents
Kristin Roehrig,
cello
student of Paul York
with
Adrienne Fontenot, piano
Jack Ashworth, piano
Senior Recital
Wednesday Evening
April 12, 2006
5:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Three Pieces
Prologue
Interlude
Epilogue
Anis Fuleihan
(1900-1970)
Sonata No. 1 for Viola da Gamba
in G Major, BWV 1037
Adagio
Allegro, ma non tanto
Andante
Allegro moderato
Johann Sebastian Bach
(1685-1750)
INTERMISSION
Conniving
Open Fifth
Joseph A. R. Healy
(b. 1981)
Sonata No. 1 for Cello and Piano
in E Minor, Op. 38
Allegro non troppo
Allegretto quasi Minuet - Trio
Allegro
Johannes Brahms
(1833-1897)
This recital is given in partial fulfillment of the requirements
for the Bachelor of Music degree.
PROGRAM NOTES
Three Pieces AnisFuleihan
Fuleihan, who was born in Kyrenia, Cyprus, moved to the U.S. in
1915 and became a citizen in 1925. He was a pianist, conductor, and a
principally self-taught composer. From 1946, Fuleihan toured and held a
series of teaching, administrative, and conducting posts including the
position of professor of composition and piano at Indiana University from
1947-1953. Not being a fan of serialist music, Fuleihan's music was
influenced by Middle Eastern folk music. His early style was marked by
extreme dissonance with an oriental influence. His later works sought a
more authentic engagement with Eastern musical traditions with his
works after 1935 being described as neo-romantic.
This piece written in the 1940s is very tonal and does not reflect the
style of music popular at that time. The first movement titled Prologue,
which is an introduction or preface, is very slow and expansive, and flows
around a pitch center of C. The second movement. Interlude, which is an
entertainment between the acts of a play and, in music, a short piece
inserted between the parts of a longer composition, is fast and energetic.
The ascending and descending sixteenth-note scales and runs create the
intense, frenzied feel of this movement. The third movement is titled
Epilogue, which is a short poem or speech spoken directly to the audience
following the conclusion of a play, or a concluding section at the end of a
literary work that often deals with the future of its characters. Its slow,
smooth, and flowing melodies give the movement a thoughtful, reflective
feel.
Sonata No. 1 for Viola da Gamba Johann Sebastian Bach
in G Major, BWV 1037
The G Major gamba sonata is the first of three gamba sonatas
composed by J. S. Bach. Because each of the three sonatas was composed
as a separate piece, the gamba sonatas, unlike much of Bach's chamber
music, do not constitute a unified cycle. However, they do have several
features in common: they are written in three obbligato voices, and each
of the three works was originally intended for other combinations of
instruments. This sonata is based on an earlier version for two flutes and
basso continuo (BWV 1039) and, three movements of this piece also exist
in a version for organ or pedal harpsichord (BWV 1027a).
From 1717-1723, Bach was employed as Kapellmeister in the court
of Prince Leopold von Anhalt-Cothen. It was during this period that the
three sonatas for viola da gamba were written. The Prince was a faithful
patron of the arts who played the violin, viola da gamba, and clavier. His
court orchestra also boasted the virtuoso cello and gamba soloist, Chris¬
tian Ferdinand Abel. However, it is still in debate for whom or for what
occasion these sonatas were written.
The G Major Sonata employs the traditional four-movement
church sonata plan with alternating slow and fast movements. In this
work Bach's characteristic baroque style prevails making use of extensive
polyphony, fast harmonic rhythm, incisive fugue themes, and continu¬
ously active rhythms.
Conniving; Open Fifth Joseph A. R. Healy
Conniving is a piece about a mystical character. The piece opens as
the sneaky creature wakes up from a long night's rest. Then he starts to tip¬
toe around the "sound world," looking for someone to tease. Suddenly, a
victim is seen. The mystical creature starts to play around with his prey.
But then, the creature backs off before tormenting the helpless victim. He
begins to circle around his prey, anticipating the attack. Then the two
collide and twirl around the "sound world." All of a sudden, the mystical
creature tip-toes away and falls asleep, for tomorrow he will again
continue his conniving ways.
The cello has four strings a perfect fifth from each other. The open
strings of the cello were the basic building blocks for the construction of this
piece. Every phrase and melodic and visual gesture was heavily domi¬
nated by an open string. The work has an A B A' form in which the A' section
adds more melodic texture and rhythmic syncopation to its prime.
There is more to this piece than being built upon an open fifth
compositional technique. The work was also constructed by a rhythmic
pulse, creating and developing an imaginary character. This character is
a fast and witty creature who skips, runs, hops, and jumps around the
sound world. The character's actions displease the neighbors who try to
catch him and put him to work. The more the neighbors try, the harder it
becomes to catch him. In the end when all are tired, the rambunctious
character ends his playing and helps his neighbors.
-Joseph A. R. Healy
Sonata No. 1 for Cello and Piano Johannes Brahms
in E Minor, Op. 38
Brahms's E Minor Cello Sonata was written in 1865 and was his
first published full sonata for any instrument other than piano. He stresses
the darker, thoughtful side of the cello, exploiting its low register. In the first
movement, the traditional sonata form is unhurriedly deployed. The
beginning starts with a serious, long melody marked piano and written
low on the instrument. With this melody, the piano is playing off-beat
chords giving a feeling of opposition between the cello and piano. This
opposition idea is the foundation for the many exciting and dramatic
points in this movement. The second movement is an ABA form. The
menuetto is characterized by its controlled short, rhythmic melody, which
gives it a restrained feel. This contrasts sharply with the long, free flowing
lines of the trio. This contrast of short and long, controlled and free brings
back from the first movement the idea of opposition. The third movement
which is written in a fugal structure, begins with triplets in the left hand
of the piano. Four measures later, the cello enters with triplets which are
juxtaposed against eighth notes now being played in the left hand of the
piano. This contrast of triplets and eighth notes is carried throughout this
movement, continuing, once again, the idea of opposition established in the
first movement. The movement then transitions into the tranquillo section.
Here, Brahms uses a technique called developing variation where he
develops the melody differently every time it occurs. The movement then
suddenly switches to an animato section, echoing the energetic motives
from the beginning of the movement. It ends with a vigorous piu presto
section as the piano and cello race to the finish in a flurry of juxtaposed
eighth notes and triplets.
School of
music
INIVERSIIYof IDUISVIUE
dare to be great
presents
University
Saxophone
Ensembles
John S. Moore, director
Wednesday Evening
April 12, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you
PROGRAM
Sailor's Hornpipe
Henry Cowell
(1897-1965)
Two Pieces (1936)
Skizze
Niederdeutscher Tanz
Wolfgang Jacobi
(1894-1972)
Amy Knight, alto
Matthew Reidinger, alto
George Flores, tenor
Melanie Pulliam, baritone
Six Barefoot Dances (1962)
Firm
Swinging
Walking
Lively
Jaunty
Brisk
John David Lamb
(b. 1935)
Amy Knight & Matthew Reidinger, alto saxophones
Dances of the Dolls
Lyric Waltz
Gavotte
Romance
Polka
Jocular Waltz
Hurdy-Gurdy
Dance
Dmitri Shostakovich
(1906-1975)
arr. Merlin Williams
Rondo (1970)
Zdenek Lukas
(b. 1928)
Jennifer Hoffmann, soprano
Kevin Arbogast, alto
Tommy Zinninger, tenor
Daniel Reams, baritone
University Saxophone Orchestra
The Planets
Mercury
Venus
Jupiter
Two Sad Songs (1976)
Prelude
Sarabande
Overture, Interlude and Scherzo
Gustav Holst
(1894-1934)
arr. Jensen
Mark Alan Taggart
(b. 1956)
(1988) Walter S. Hartley
(b. 1927)
University Saxophone Orchestra
John S. Moore, director
Soprano
Jennifer Hoffmann
Matthew Reidinger
Alto
Kevin Arbogast
Amy Knight
Yosuke Kami’ 1 '
Tenor
Tommy Zinninger
George Flores
Baritone
Daniel Reams
Melanie Pulliam
Bass
Kevin Corcoran
*guest
School of
music
IMVERSITYof IOUISVILLE
dare to be great
presents
University
String Chamber
Ensembles
Wednesday Evening
April 12, 2006
8:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watchesand pagers. Thank you.
PROGRAM
Quartet No. 1 in E-flat Major, Op. 12 Felix Mendelssohn
Adagio non troppo - Allegro non tardande (1809-1847)
EliseKotheimer, violin Monica Clarke, viola
Cordia Thompkins, violin Charlie Patton, cello
Sonata in F Major, Op. 24 "Spring" Ludwig van Beethoven
Allegro (1770-1827)
Arezou Etemad, violin
Sandra Duran, piano
Quartet in F Minor, Op. 20, No. 5
Allegro moderato
Joseph Haydn
(1732-1809)
Leslie Heinzen, violin Scott Farley, viola
Stephen Johnson, violin Katie Schladand, cello
Five Pieces for Two Violas and Piano Shostakovich/Hofman
Movement - Moderato
Hannah Turi & Sarah Speck, violas
Austin Echols, piano
Trio in C Minor, Op. 1, No. 3 Ludwig van Beethoven
Allegro con brio
Nicole Reiter, violin
Nicole Boguslaw, cello
Andrea Reynolds, piano
Sonata No. 6 in G Major, K. 301 Wolfgang Amadeus Mozart
Allegro con spirito (1756-1791)
Elizabeth Wooldridge, violin
Amy Dobben, piano
Quartet in C Minor, Op. 18, No. 4 Ludwig van Beethoven
Menuetto: Allegretto and Trio
Gerome Stewart, violin Alisson Rebel - , viola
Juan Carlos Ortega, violin Erin Cassel, cello
Trio in D Minor, Op. 49 Felix Mendelssohn
Molto allegro ed agitato
Scott Moore, violin
Marlene Ballena, cello
James Dersch, piano
School of
music
IMVERSHY of I OUISVILLE ,
dare to be great
Thursday, April 13, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Convocation
Rhapsody for solo clarinet Willson Osborne
(1906-1979)
Amanda Lochner, clarinet
MUS 412/D. Tidwell
Barcarolle Sherwood Shaffer
(b. 1934)
Thomas Zinninger, tenor saxophone
MUS 412 / Moore
Krista Wallace-Boaz, piano
Fantasia No. 2 in A Minor Georg Philipp Telemann
Adagio (1681-1767)
Allegro
John Aurelius, flute
MUS 112 / K. Karr
Allerseelen Richard Strauss
(1864-1949)
Amanda K. Walker, soprano
MUS 312 /E. Tidwell
Samuel Hodges, piano
Concerto in C Minor
II. Adagio molto espressivo
Katie Schladand, cello
MUS 112 / York
Alysson Riffe, piano
Johann Christian Bach
(1735-1782)
m usic
INWERSITYqf 1DUISVILLE
0* " -—
dare to be great
presents
Chase Dabney,
guitar
student of David Walker
Student Recital
Thursday Evening
April 13, 2006
8:30 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Suite in C Major [orig. G Major],
BWV 1007
Prelude
Allemande
Courante
Sarabande
Menuet I
Menuet II
Gigue
Johann Sebastian Bach
(1685-1750)
arr. Stanley Yates
Fandango variado, Op. 16
Introduccion
Fandango
Dionisio Aguado
(1784-1849)
PAUSE
Etude No. 11
Prelude No. 5
Heitor Villa-Lobos
(1881-1959)
Tristemusette
from Deux Hommages a Marcel Dadi
Roland Dyens
(b. 1955)
Dance of the Miller
from The Three-Cornered Hat
Manuel de Falla
(1876-1946)
DIVERSITY of L OUISVILL E
dare to be great
presents
University
New Music
Ensemble
Frederick Speck, director
Thursday Evening
April 13, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. Vie use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Yin-Yang (2000)
Michael Denhoff
(b. 1955)
Jeremy Podgursky & Christian Gentry, pianos
Wings (1983)
Joan Tower
(b. 1938)
Brad Baumgardner, bass clarinet
Masque (1959)
Torn Takemitsu
(1930-1996)
Tiffany Wilson & Penelope Quesada, flutes
Flashes and Illuminations (1994)
On the Greve
Chemin de Fer
To Be Recited to Flossie on Pier Birthday
Nathan Wilson, baritone
Sarah Danyi, piano
John Harbison
(b.1938)
Inconceivable Things (2006) *
Ryan Connell, Christian Gentry & Jeremy Podgursky, pianos
Steve Rouse
(b.1953)
world premiere
School of
music
IMVERSTIY of IDUISVILLE
dare to be great
presents
Jacob Goran,
alto & tenor saxophone
student of Mike Tracy
and
Jonathan Epley ; guitar
student of Craig Wagner
Student Recital
Friday Evening
April 14, 2006
8:30 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
Recorda Me
Autumn Leaves
Gnosa
Stella by Starlight
Invitation
Out of Nowhere
PROGRAM
Joe Henderson (1937-2001)
Jacob Goran, tenor saxophone
Jonathan Epley, guitar
J. Kosma (1905-1969)
J. Mercer (1909-1976)
Jacob Goran, tenor saxophone
Jonathan Epley, guitar
Jacob Goran (b. 1982)
Jacob Goran, alto saxophone
Jonathan Epley, guitar
Natalie Boeyink, bass
N. Washington (1901-1976)
V. Young (1900-1956)
Jonathan Epley, guitar
Clayton Vaughn, bass
Evan Pouchak, drums
B. Kaper (1902-1983)
P. Webster (1907-1984)
Jacob Goran, tenor saxophone
Jonathan Epley, guitar
Clayton Vaughn, bass
Evan Pouchak, drums
E. Heyman (b. 1907)
J. Green (1906-1989)
Jacob Goran, tenor saxophone
Jonathan Epley, guitar
Natalie Boeyink, bass
Evan Pouchak, drums
Smoke Gets in Your Eyes
J. Kern (1885-1945)
O. Harback (1873-1963)
Jacob Goran, alto saxophone
Justin Hornback, piano
Natalie Boeyink, bass
EvanPouchak, drums
Dear Jolm F. Hubbard (b. 1938)
Jacob Goran, tenor saxophone
Luke Barker, tenor saxophone
Jonathan Epley, guitar
Clayton Vaughn, bass
EvanPouchak, drums
Before the Time After Last Jacob Goran
Jacob Goran, tenor saxophone
Brent Hall, trumpet
Jonathan Epley, guitar
Justin Hornback, piano
Natalie Boeyink, bass
Neil Laird, drums
PROGRAM NOTES
(on originals)
Gnosa - It should be no great surprise that the influx of Spanish
cultures has greatly influenced the so called "typical American
culture." In fact, our infectious capitalistic economy has even
directed the global system's linguistical dynamic. Albeit a specu¬
lation, the current theories foresee an operational language of
Spanish, to be followed by the fortuitous but elegant Chinese soon
thereafter. Further statistical analyzations reveal that novel devia¬
tions produce even more obtruse results; thus ascertaining an
isometric conglomeration of syntaxtic malarkey with a quintessen¬
tial example being in direct proportion to these liner notes. Point
being (even if it is said in a backwards way) this is A song.
Before The Time After Last - no comment.
music
IMVERSHYof I DUISVILLE
dare to be great
presents
Amber Richeson
clarinet
student of Dallas Tidwell
assisted by
David George, piano
Ben Sollee, cello
Student Recital
Friday Evening
April 14, 2006
8:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devicesand flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonata for clarinet and piano Camille Saint-Saens
Allegretto (1835-1921)
Allegro animato
Lento
Molto allegro
Three Pieces for Clarinet Solo
Igor Stravinsky
(1882-1971)
PAUSE
Trio in B-flat, Op. 11 Ludwig van Beethoven
Allegro con brio (1770-1827)
Adagio
Thema: Pria ch'io l’impegno, Allegretto - Allegro
School of
music
INIVERSITf of IDUISVILLE
dare to be great
presents
Kevin Shank,
classical guitar
student of David Walker
with
Katie Fondrisi, flute
Student Recital
Friday Evening
April 14, 2006
7:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Capricho Arabe
(Serenade Para Guitarra)
Francisco Tarrega
(1852-1909)
Prelude and Fugue, BWV 998
Johann Sebastian Bach
(1685-1750)
Una Limosnita Por Amor De Dios Augustin Barrios Mangore
(1885-1944)
Usher-Valse
(after "The Fall of the House of Usher"
by Edgar Allan Poe)
Nikita Koshkin
(b. 1956)
Histoire du Tango Astor Piazzola
Bordel 1900 (1921-1992)
Cafe 1930
Nightclub 1960
Concert d'aujourd'hui
Katie Fondrisi, flute
Kevin Shank, guitar
BIOGRAPHIES
Kevin Shank was bom and raised in Coventry, Rhode Island.
From there he attended the Berklee College of Music in Boston,
Massachusetts, graduating in 1984. After graduation Kevin joined
the United States Army Band and served for twenty years. While
stationed in various assignments Kevin had the opportunity to
study with Michael Newman at the Marines College of Music in
Ne w York and Yasunori Kitsuka wa while stationed in Japan. He has
recently retired from the Army and is now pursuing his Master's
degree in performance at the University of Louisville. He is
currently studying with David Walker. Kevin has a beautiful wife
Christina, and two wonderful children Amanda and Jonathan.
They reside in Rineyville, Kentucky.
Katie Fondrisi is a first-year graduate student at the University of
Louisville, pursuing a Master of Music degree in flute performance.
She obtained a Bachelor of Arts degree in Music Performance from
Indiana University Southeast with a minor in Spanish. She has
been playing the flute and piccolo for thirteen years and currently
studies with the principal flutist of the Louisville Orchestra, Kathleen
Karr.
As Miss Berea Area, Katie will be performing in the Miss Kentucky
Pageant this summer and regularly plays for churches, musical
theater groups, and other special events. She has been teaching
flute privately for four years and substitute teaches in the New
Albany /Floyd County School System. Katie is also the Director of
Publicity for Delta Omicron Professional Music Fraternity at the
University of Louisville as well as a member of the College Music
Society, Kentucky Flute Society, and the CMENC. Katie plans to
perform professionally in a musical theater orchestra and to teach
in a school system or at a university.
School of
music
INWERSITYqf IDUISVILLE
dare to be great
presents
Glass Brass
students of Bruce Heim and Brett Shuster
Brian Glass, trumpet
Charles Calloway, trumpet
Lindsay Pummell, horn
Sarah Finger, trombone
David Jaggie, tuba
Student Recital
Saturday Afternoon
April 15, 2006
4:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and fash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Centone No. V
Samuel Scheidt
III. Presto
(1587-1654)
Paradigm Shift (2005)
Christian Gentry
(b. 1978)
Three Pieces
I. Maestoso alia Marcia
Ludwig Maurer
(1789-1878)
II. Andante con moto
III. Allegro grazioso, un poco agitato
Quintet
Michael Kamen
(1948-2003)
INTERMISSION
Frost Fire
I. Bright and Fast
Eric Ewazen
(b. 1954)
Habanera
from Carmen
arr.
Georges Bizet
(1838-1875)
Bill Holcombe, Jr.
Quintet No. 1, Op. 5
I. Moderate
Victor Ewald
(1860-1935)
II. Adagio non troppo lento
III. Allegro moderate
Tiger of San Pedro
John La Barbera
(b. 1945)
School of
music
IMVERSITYof IDUISVILLE
dare to be great
presents
Matt Greenwood,
percussion
student of Greg Byrne
with the
University of Louisville
Percussion Ensemble
Senior Recital
Saturday Afternoon
April 15, 2006
5:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Eight Pieces for Four Timpani
VIII. March
Trilogy for vibraphone solo
I. A Vision in a Dream
Elliott Carter
(b. 1908)
Tim Huesgen
(b. 1957)
Inspirations Diabolique for percussion solo Rick Tagawa
I. Introduction (b. 1947)
II. Dance
III. Adagio - Tarantella
IV. Cadenza
V. Perpetual Motion
PAUSE
Concerto for Marimba and Percussion Ensemble Ney Rosauro
II. Lamento (Lament) (b. 1952)
University of Louisville Percussion Ensemble
Whitney Winstead, Mary Rada, Kelley Gibson,
Alyssa Spaulding, Matt Texter, Phil Turner
Greg Byrne, director
Polaris Mark Ford
(b. 1958)
Pezzo da Concerto No. 1, Op. 15 Nebojsa Jovan Zivkovic
per tamburo piccolo solo (b. 1962)
This recital is given in partial fulfillment of the requirements
for the Bachelor of Music degree.
PROGRAM NOTES
Eight Pieces for Four Timpani Elliott Carter
Composed for four pedal timpani, most of the eight pieces
were written in 1950 and revised in 1966. A1 Howard premiered the
entire work on May 6, 1952. Carter uses a process called metrical
modulation to a great extent in this work. In this compositional
technique the subdivision of a given pulse becomes another pulse
in the next bar (e.g., sixteenth notes in bar one are to be heard as
eighth-note triplets in the next bar). In this multi-movement work
Carter explores many of the rhythmical changes one can think of.
In the March you will immediately hear the pulse at the beginning
of the piece and as the piece progresses the pulse begins to augment
and contract throughout. This is Carter's genius at work with
metrical modulation.
Trilogy for vibraphone solo Tim Huesgen
Tim Huesgen is currently a percussionist with the United
States Army Band in Washington, D.C. He received a Bachelor of
Music degree from the University of Tennessee and a Master of
Music degree from Indiana University of Pennsylvania, where he
also served as a graduate teaching assistant, tim has been a featured
soloist with the Knoxville Symphony Orchestra and the Pittsburgh
Chamber Orchestra. His articles on applying polyrhythms to the
drum set have appeared in Percussive Notes magazine. Additional
credits include performances with Reba McEntire, Vince Gill,
Trisha Yearwood, Lee Greenwood, Merv Griffin, Nashville Now
and others.
Inspirations Diabolique RickTagawa
Rick Tagawa studied composition under Elliott Carter at the
Juilliard School of Music. As in the earlier piece by Carter, you can
hear the use of metrical modulation, but not to the extent as in the
March for timpani. Rick Tagawa's use of mallets and techniques for
the instruments are at times innovative and are very fun for the
listener. Tagawa's composition for multi-percussion is very acro¬
batic and aggressive as well as having moments that are light and
controlled.
Concerto for Marimba & Percussion Ensemble Ney Rosauro
The Concerto for Marimba and Orchestra was written in
June and July of 1986 in Brasilia and is dedicated to the composer's
son Marcelo. The work was originally written for marimba and
string orchestra. The percussion ensemble arrangement was com¬
pleted in 1989. With the commercial success of a 1990 CD and
video by Scottish percussionist Evelyn Glennie and the London
Symphony Orchestra, the Concerto rapidly came to be regarded as
part of the standard literature for percussion. It is considered to be
the most popular marimba concerto today, and has been per¬
formed by more than eight hundred orchestras worldwide.
Polaris Mark Ford
Polaris is a one-movement composition for solo marimba
based on a rhythmic theme in 7/8 meter. Set in a modified rondo
form, two separate ostinatos help unify the music while themes
from the opening chorale and allegro sections are developed. As the
North Star has served as a navigation reference for centuries, Polaris
(the current northern pole star) reflects the inner part of each of us
that guides our decisions and shapes our identity.
Pezzo da Concerto, No. 1, Op. 15 Nebojsa Jovan Zivkovic
per tamburo piccolo solo
A concert piece for snare drum that explores the different
nuances of sound and interesting possibilities of the instrument. As
well as the numerous differing nuances of sound, which are
exploited. It is technically and musically an ambitious piece in
which the effect intentionally predominates. Hailed by the critics
as one of the most unique and expressive artists in the field today,
composing virtuoso Zivkovic is recognized as one of the world's top
marimba and percussion soloists. He embodies a very rare tradi¬
tion: the tradition of the composer and virtuoso in one person,
which was common in the 19th century among famous concert
artists.
School of
music
IMVERSHYof LOUISVILLE.
dare to be great
presents
Preparatory
Department
Recital
Florence Pilkinton, accompanist
Saturday Afternoon
April 15, 2006
1:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event office or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thankyou
PROGRAM
The Inchworm
Nancy Faber
Yankee Doodle
Aidan Jones, piano
Student of Dr. Connie Golden
Traditional
Humoresque
Kevin Behan, violin
Student ofFranzeli Sharp
Antonin Dvorak
(1841-1904)
Bells! Bells! Bells!
Nancy and Randall Faber
The Bubble
Nancy and Randall Faber
Sydney Stewart, piano
Student of Drew Foley
Russian Sailor Dance Traditional Russian Folk Song
arr. Nancy and Randall Faber
Square Dance
Nancy and Randall Faber
Noah LeClaire, piano
Student of Drew Foley
Summer Song
Leigh Ann Perdue, flute
Student of Rebecca Johnson
William Billingsley
Sonatina in C
William Duncombe
Capriccio Allegro
Shannon Leggett, piano
Student of Chris Douglas
Karl Gossec
Linus and Lucy
Sarah Cornell, piano
Student of Dr. Connie Golden
Vince Guaraldi
Canario
Joachim Von der Hofe
Staccato Caprice
Lorena Sistig, piano
Student of Chris Douglas
Willard A. Palmer
Adagio and Allegro
Morgan Boyce, piano
Student of Dr. Connie Golden
Bach/Ricci
Sonata in D Minor, K. 90d/L. 106
Shea Jennings, piano
Student ofDenine LeBlanc
Domenico Scarlatti
(1685-1757)
Rondo from Concerto No. 4, Op. 65
Georg Golterman
(1824-1898)
Ann Richardson, cello
Student of Wayne S. Krigger
Andante et Scherzo
Meaghan Peak, flute
Student of Rebecca Johnson
Louis Ganne
(1862-1923)
The Fox Hunt
John Thompson
To Celia
Nick Termini, piano
Student of Todd Ihrig
John Thompson
The Crazy Clown
Journey by Camel
Nancy Faber
Nancy Faber
Abagail Stewart, piano
Student of Dr. Connie Golden
Minuet 1 Johann Sebastian Bach
(1685-1750)
Adriana Sistig, violin
S tuden t of Mary Illback
Concerto No. 2 Friedrich Seitz
Third Movement (1848-1918)
Sam Leist, violin
Student of Mary Illback
Theme sur le nom ABEGG Robert Schumann
(1810-1856)
Cletus Amlung, piano
Student ofDenine LeBlanc
Honors Recital
AND
Awards Presentation
Saturday, May 13, 2006
1:00 p.m.
Malcolm Bird Recital Hall
the Kentucky opera
Young Artists
in Recital
April 15, 2006
7:00 PM.
Margaret Comstock Concert Hall
University of Louisville
Meet the Youn^ Artists
Meghan Dewald (soprano) is a native of Reading, PA. In 2004 she was seen at
Chicago’s Symphony Center as Countess Almaviva in The Opera Extravaganza
concert of scenes by the Apollo Chorus of Chicago. She performed the role of
Suor Genovieffa in Suor Angelica at the Intermezzo Young Artists Program in 2003,
Meghan recently graduated magna cum laude from Northwestern University with a
Bachelor of Music in vocal performance. At Northwestern, she appeared as First
Lady in Die ZauberflOte and Suor Dolcina in Suor Angelica. Meghan performed one
of the backstage voices in Kentucky Opera’s production of Little Women and Berta
in Barber of Seville.
Jondra Harmon (mezzo-soprano) hails from Stafford, Virginia. She earned a Bach¬
elor of Arts degree in voice and bassoon from Gardner-Webb University and is
currently pursuing a Master of Music degree in voice performance at the Peabody
Conservatory of Johns Hopkins University. Ms. Harmon’s past roles include Ma¬
dame Flora in The Medium, Carmen in scenes from Carmen, and Mother in Little Red
Riding Hood. In 2003, Ms. Harmon made her European debut as Zia Principessa in
Suor Angelica with Operafestival di Roma. While in Rome she also performed
concerts of operatic and musical theatre literature, including arias from Madama
Butterfly and Porgy and Bess. Jondra performed one of the backstage voices in
Kentucky Opera’s production of Little Women.
Robert Boldin (tenor) earned a BFA from Carnegie Mellon University before relocating
to Chicago, where he received his MM from Northwestern University. Robert has
been seen on stage with the Chicago Opera Theater, with appearances in Death in
Venice, Le nozze di Figaro, The Impressario, Semele, Cos! fan tutte, Akhnaten, and The
Good Soldier Schweik. Other credits include Ferrando in cost fan tutte with Music by
the Lake, Tybalt in Romeo et Juliette with Skylight Opera Theater, Henrik Egerman in A
Little Night Music with Muddy River Ohera, Priest and Armored Man in die zauberflote
and Gastone in La Traviata with Ash Lawn Opera Festival.
Nicholas Provenzale (baritone) is a native of Bloomington, Indiana. He received
both his Bachelor’s and Master’s degrees from the Indiana University School of
Music. Last season, as a Young Artist with Indianapolis Opera, he performed
Fiorello in II barbiere di Siviglia and Yamadori in Madama Butterfly. In 2004, Nick
was a Metropolitan Opera Auditions District Winner and Regional Finalist. This past
summer he appeared in Lucca, Italy performing the role of Dandini in La
Cenerentola with the Opera Theater and Music Festival of Lucca. This past fall he
pai ticipated in San Diego Opera s Young Artists Program. Nick appeared as
Fiorello/Sergeant in Kentucky Opera s February production of Barber of Seville.
Sun Joo Cho (pianist/coach) is a native of Seoul, South Korea. She is presently a
doctoral candidate in piano performance, with a cognate area in accompanying, at the
College Conservatory of Music at the University of Cincinnati. Sun-Joo received her
Bachelor of Music in piano performance from Ewha Women’s University and her
Master of Music in piano performance from Cincinnati-Conservatory of Music.
Sun Joo is the staff choir accompanist for Ursuline Academy High School in
Cincinnati, Music Instructor for Franklin County High School in Brookville, IN, and teaches
private and group piano lessons in Cincinnati. She is also the staff accompanist for
the University of Cincinnati Prep Department and accompanist for Richwood
Presbyterian Church in Kentucky.
Eric McKeever is the Manager of Education Programs
“The Best of all Possible Worlds,” from Candide
Meghan, Jondra, Rob, Nick and Eric McKeever*
“Willow Song" from The Ballad of Baby Doe
“Lonely House" from Street Scene
"Must the Winter Come So Soon” from Vanessa
“There was a knight ...” from Little Women
Meghan
Rob
Jondra
Nick
Leonard Bernstein
(1918-1990)
Douglas Moore
(1893-1969)
Kurt Weill
(1900-1950)
Samuel Barber
(1910-1981)
Mark Adamo
(b. 1962)
from Cosl fan tutte
“Soave sia il vento . .
“II core vi dono . . .”
“Fra gli amplessi in pochi istanti .
Meghan, Jondra and Nick
Jondra and Nick
ii
Meghan and Rob
from Don Giovanni
“La ci darem la mano . . ."
Meghan and Nick
intermission
Largo al factotum” from II Barbiere di Siviglia
Esgombro il loco...Ah! parea ..."from Anna Bolena
Ah, je veux vivre . . ." from Romeo et Juliette
Nick
Jondra
Meghan
Au fond du temple saint ...” from Les PEcheurs de Perles
!„ . Rob and Nick
iens Mallika . . .” from Lakme
Meghan and Jondra
from Rigoletto
Questa o quella . .
Rob
W. A. Mozart
(1756-1791)
W. A. Mozart
Gioacchino Rossini
(1792-1868)
Gaetano Donizetti
(1797-1848)
Charles Gounod
(1818-1893)
Georges Bizet
(1838-1875)
Leo Delibes
( 1836 - 1891 )
Giuseppe Verdi
(1813-1901)
Bn di, se ben rammentomi . . .
Meghan, Jondra, Rob and Nick
Translations
From Cosx fan tutte
"Soave sia il vento"
Fiordiligi, Dorabella and
Don Alfonso
May breezes blow lightly,
May fair winds betide you,
May stars shimmer brightly
and faithfully guide you,
Beloved so dear.
May fortune direct you and
journey beside you.
Watch over and protect you,
Benign and responsive to
1 ovg so sincere.
"Il core vi dono. . . "
Guglielmo
Give in, oh dearest!
that .
\Guglielmo
Let me put it in there.
Dorabella
It cannot stay here.
Guglielmo
I understand you, you cun¬
ning one .
Dorabella
What are you doing?
Guglielmo
Don ' t 1 ook.
Do r abe11 a
I feel as if I have a
Vesuvius in my breast.
Fer -tand 0
Ah, no, my life! with tha
sword by your hand this
heart you will pierce,-
if you don't have strength
I will guide your hand.
Fiordiligi
Be silent, alas! X am suf¬
ficiently tormented and
unhappy!
Both
Ah that now her (my) con¬
stancy at those glances, at
what he/she says begins to
wave r.
Fiordiligi
Rise !
Dorabell a
You'll make me die..
Guglielmo
We will die together, my
beloved hope. Will you ac¬
cept it?
Gugli elmo
Wret ched Ferrando! It
doesn't seem possible.
Look at me with your dear
littie eyes.
Dorabell a
What do you want?
Dorabe11a
I accept it !
Guglielmo
Look, look,
be better?
could anything
Guglielmo
(to himself) Unhappy
Ferrando !
(to Dorabella) Oh, what de-
1 ight !
This heart I give to you,
lovely idol. But I also
yours, give it to me.
my
want
Both
Oh happy exchange of hearts
and of affections! What
new delights, what sweet
suffering!
Dorabella
Give it to me (and) I'll
take it, but mine I won't
give you. it's useless for
you to ask of it is no longer
mine.
Guglielmo
If you don't have it with
you, why does it beat here?
Dorabella
If you give it to me, what
&ver is besting there?
Both
ft is my little heart that is
io longer with me. it came
° be with you, it beats like
" Fra gli amplessi in
pochi istanti"
Fiordiligi
I will soon be, in a few
moments, in the arms of my
faithful bethrothed. I
will come before him with¬
out his knowledge. Oh,
what joy his lovely heart
will feel at recognizing
me!
Ferrando
And meanwhile of grief,
wretched I will die.
Fiordiligi
What do I see?! I'm be¬
trayed. Please, leave!
Ferrando
it's useless to insist.
Fiordiligi
For pity's sake, what do
you want from me?
Ferrando
Your heart or my death.
Fiordi1igi
Ah, I am not strong any
longer. . .
Ferrando
Yield, dearest!
Fiordiligi
Advise me, gods!
Ferrando
Turn your pitying eyes to
me: In me only can you
find husband, lover... and
more if you wish. My idol,
no more delay-
Fiordi1igi
Merciful heaven!
man, you've won:
me what you want.
Both
Let us embrace oh dearest
beloved, and let a comfort
for all our suffering be to
languish with sweet affec¬
tion and to sigh with de-
1ight .
Cruel
Do wi th
Translations
From Don Giovanni
"La ci darem la
mano..."
Zerl i na
You !
Don Giovanni
Certainly, I. That little
house is mine: alone we
will be, and there my
jewel,
ried.
we will
ge t
mar-
There
we wi11
hold
hands
there
you will
tell
me
"yes "
Look,
it isn't
far.
let
leave.
my beloved.
from
here .
Z e r 1 i n a
I would like to and not
to. . .my heart trembles a
bit...Happy, it's true I'd
be: but he could be
trieking me .
Don Giovanni
Come, my lovely delight!
pleasures for a barber of
quality! Ah, bravo Figaro,
bravissimo, bravo! Most
fortunate in all truth!
Ready to do anything, night
and day, always about on the
town I am. A better abun¬
dance for a barber, a life
nobler cannot be found.
Razors and combs, lancets
and scissors at my command
everything is ready here.
There are the perks, then,
of the trade, with all the
young ladies ... with the
young cavaliers...
Everybody asks for me, ev¬
erybody wants me, women,
boys, oldsters, young girls;
Here a wig...quickly a
shave...Here the leech,
quickly the love note.
Figaro! Alas, what a fury!
What a crowd! One at a
time, for charity's sake!
Hey...Figaro! I'm here!
Hey, Figaro! I'm
here...Figaro here, Figaro
there, Figaro up, Figaro
d o wn .
Quick, very quick, I am like
the lightning; I am the
factotum of the city. You
will not lack good luck.
heart full of hope and of
desire, would reveal to you
my eager ardor which I dare
not reveal to her.
From Romeo et Juliette
"Ah, Je veux vivre. .
Juliette
I want to live in this dream
that intoxicates me; this day
still. Sweet flame, I keep
you in my soul like a trea¬
sure !
This intoxication of youth
does not last, alas, but one
day!
Then comes the hour when we
weep,
the heart surrenders to love
and happiness flies off with¬
out (ever) coming back.
I want to live in this dream
that intoxicates me for a
1ong time yet.
Far from sullen winter let me
slumber and breathe in the
rose, befoi-e plucking out its
petals.
Sweet flame, I keep you in my
soul like a sweet treasure.
From LES PECHEURS DE
Z e r 1 i n a
I feel sorry for Masetto.
Don Giovanni
I will change your fate.
Z e r 1 i n a
Soon I won’t be able to
res ist .
Both
'Bet us go, my beloved, to
soothe the pangs of an inno-
c&n t love.
From
Barbiere di Siviglia
largo al factotum della
citta"
Figaro
^ a ' la, la, lera, la, la,
la.
way for the factotum of
e city. Make way!
Sickly to my shop for dawn
■* s here, quickly! Ah, what
good life, what lovely
From Anna Bolena
"E sgombro il loco...Ah!
p a r e a . . . "
Sme ton
The place is empty. The
1 adies-in-waiting are else¬
where intent on their duties
and even if one them saw me
here, she knows well that to
those most private rooms
Anna sometimes even invites
me to private musicales .
This portrait of hers stolen
by me, I must put back before
my boldness is discovered.
A kiss, a kiss again, adored
features . . .
Farewell, beautiful portrait
that rested upon my heart and
seemed to beat to its rhythm.
Fa rewell !
Ah! It seemed that as if by
magic you responded to my
suffering that every drop of
my tears awakened one of your
sighs.
At such a sight, my bold
Perles
"Au fond du temple
saint. .."
Zurga
It was evening! In the air,
by the warm breeze, the
Braham girls with brows
bathed in light were slowly
summoning the crowd to prayer
Nadir
The holy temple gleamed with
garlands richly set
And a woman appeared
I think I see her yet
Zurga
I think I see her still...
Nadir
The crowd that knelt in
prayer gazed at her standing
there
And they whispered and said
Behold! It is a goddess!
There she stands in the shad¬
ows with her pale arms out-
spread.
Translations
The veil she
She was
The people
Zurga
wore was lifted
fair as heaven
all bowed their
heads.
Both
Yes it is she, it is the
goddess. Holy fair and en-
chanting
Bless the goddess come down
among us
Bless the earth where she
treads; Ah, now the veil was
lifted
And the people bowed their
heads.
Nadir
She turned towards the
people and they made way
before her.
She was veiled
her lovely face
Nadir
Though I gazed
Alas! I gazed in
Zurga
then and so
was hidden.
vain
friends !
Both
We swear we are friends till
death
Zurga
No, let nothing separate us!
Let us swear to stay friends!
Nadir
Let us swear to stay friends!
Both
We swear we are friends till
death
So this promise made to each
other shall our faithful
hearts unite
ever more brother to brother
Nothing can now break the
faith
we plight
Ah, truly that was the god¬
dess came to us upon that
magic night
So will we share all Fate can
send
What e'er may be till life
shall end.
From "LaKME"
Where the spring slee Ds ,
The birds, the birds sin^
Under a dome of white j as
mine
Ah! calling us
Together!
Under a dome of white jas¬
mine
With the roses entwined
together
On a river bank covered
with flowers laughing in
the morning
Let us descend together
Gently floating on it's
charming risings,
On the river's current
On the shining waves,
One hand reaches,
Reaches for the bank,
Where the spring sleeps,
And the birds, the birds
sing.
Under a dome of white jas¬
mine
Ah! calling us
Together!
From "RlGOLETTO"
Z urga
She was gone!
Nadir
She was gone!
But she had captured my soul
And my heart was yearning
for her A sudden fire
burned within me.
Zurga
What new fire consumes me!
Nadir
Your hand pushes aside my
hand .
Z urga
Your hand pushes aside my
hand .
Nadir
Love takes hold of our souls
3 rid turns us into rivals.
Zurga
No, let nothing separate us!
Let us swear to stay
friends!
Nadir
'Viens, Mallika..."
L a km e
Come, Mallika, the vines
already in bloom cast their
shade over the sacred stream
which runs, calm and gloomy
wakened by the songs of the
noisy birds!
Mallika
Oh, mistress, it is the hour
when I see you smiling, the
blessed hour when I can al¬
ways read into the closed
heart of Lakme.
Both
Under a dome of white jasmine
With the roses entwined to¬
ge the r
On a river bank covered with
flowers laughing in the morn¬
ing
'Questa o quella.
Duke
This woman
or that, to me
all
Let us swear to st
ay
Gently floating on it's
charming risings
On the river's current
On the shining waves
One hand reaches
Reaches for the bank
they're just the same as
the others I see around me;
don't surrender command of 0
heart to one beauty more tha
another.
Their charm is the gift
which fate gladdens lif e < ^
today one finds favor with
me, tomorrow it may he
another's turn.
Constancy, that tyrant of t‘
heart we detest as a bitter
ill. Let him be faithful w
will; there is no love wit
out freedom. At husbands'
jealous fury, at lovers
tage, j mock;
X challenge even Argus
hundred eyes once any
has aroused me.
Quartet from Rigoletto
Duke
One day I saw you smil e a
I looked at you enrapture
s
beaut
Translations
your beauty so excited me,
v heart was bound and cap-
[Ired. As no one else before
you , sincerely I adore you.
Maddalena
Ha, ha! No one else before
m e !
You're telling me a story. A
libertine, believe me, could
never once deceive me.
Gilda
Traitor! Ah dearest father!
Betrayer!
Duke
Yes, I'm very bad.
Madda1ena
Enough of that, it's silly.
Be good now!
Duke
Come, don't be naughty!
Don't act so prudishly, why
suddenly be haughty? Cast
all your foolish qualms
away. My darling, you must
surrender. Your hand is
white as ivory.
Maddalena
You're mocking me, pre¬
tender! I'm ugly.
Duke
I long for you with glowing
passion !
Maddalena
liar! It seems to be your
fashion to jest your way
through life! Your promise
binds forever.
Gilda
heart can bear no more!
Ah, I know his lips are ly-
i n 9- Ah, to think I once
believed him!
Rigoletto
Y °u want to hear still more?
Duke
I want you for my wife! How
lovable and clever!
Maddalena I adore you, you
enslave me and enchant me;
only this one favor you must
grant me, come and love me,
be my radiant guiding star.
I implore you, don't refuse
m e .
Maddalena
Talk is cheap, there's no
denying but your compliments
amuse me. Pretty speeches
don't confuse me,
I know well how false they
are.
Gilda
How sincerely did I love
him,
and he now betrays me so.
Rigoletto
Quiet, your crying now is
useless !
He was lying, he betrayed
you, I have proved it, but I
give you my assurance that
his crime shall be avenged.
My power and endurance I'll
employ on grim revenge. I am
prepared to strike a fatal
blow.
Translations by Nico Castel
and Lionel Salter
The Kentucky Opera Young Artists'
Program
The Kentucky Opera Young Artists’ Program is an intensive 15-week training program designed
to bridge the gap between study and a professional career for opera singers and pianist/vocal
coaches. Four singers and one pianist/vocal coach are selected through nationwide auditions.
During their tenure as Young Artists, they attend weekly training sessions at the University of
Kentucky and participate in master classes presented by nationally and internationally re¬
nowned opera professionals. Singers are considered for roles in mainstage productions, and all
artists tour Kentucky and Southern Indiana middle and high schools with a fully produced, forty-
five minute opera production. These productions serve a dual educational purpose by providing
the young artists with a professional learning experience and by providing young audiences
access to the operatic art form.
Special Thanks
The Kentucky Opera Young Artists’ Program is a shining example of the importance of individual giving. One
person’s vision and generosity has inspired subsequent gifts that in total have enabled the Opera to bring live
opera to over 100,000 students in 60 counties throughout the Commonwealth since its inception. The program
provides these five young artists invaluable performance experience.
We thank Mason Rudd for his initial gift to start this program.
Other generous individuals and groups have made significant contributions that help to support auditions,
coachings and masterclasses as well as the program’s logistical needs. We also want to acknowledge our host,
the University of Louisville, and sponsors for this special performance. Finally we want to thank the National
Endowment for the Arts for their support of Great American Voices, an initiative that brought opera to military
bases around the country. Kentucky Opera was fortunate enough to participate by giving performances at Ft.
Knox and Ft. Campbell.
Thank you, one and all.
Kentucky Opera wishes to extend special thanks to the following organizations for making this recital possible
School of
music
IMVERSITYoJ IOUISVILLE
dare lo be great
presents
Adam Yankowy,
tuba & baritone
student of John Jones and Jason Mallory
with
Deborah Dierks, piano
Claire Misbach, piano
Katie Bowles, Lauren Morelli &
Amanda Lochner, voice
Student Recital
Saturday Afternoon
April 15, 2006
2:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event offire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches/\nd pagers. Thank you.
PROGRAM
Sonata II in E-flat Major
I. Allegro
II. Siciliano
III. Allegro
J. S. Bach
(1685-1750)
Lieder eines fahrenden Gesellen Gustav Mahler
I. Wenn mein Schatz Hochzeit macht (1860-1911)
II. Ging heut' morgen iiber's Feld
III. Ich had'ein gluhend Messer
IV. Die zwei blauen Augen
Tuba Concerto ' Edward Gregson
I. Allegro deciso (b. 1945)
II. Lento e mesto
III. Allegro giocoso
INTERMISSION
Almost Like Being in Love
from Brigadoon
Alan Jay Lemer (1918-1986)
Frederick Loewe (1904-1988)
I'd Give It All for You
from Songs for a New World
Katie Bowles, soprano
Claire Misbach, piano
Jason Robert Brown
(b. 1970)
If I Can't Love Her
from Beauty and the Beast:
the Broadway Musical
Alan Menken (b. 1949)
Tim Rice (b. 1944)
All the Wasted Time
from Parade
Jason Robert Brown
Lauren Morelli, soprano
Stars
from Les Miserables
Claude-Michel Schonberg (b. 1944)
Alain Boubil (b. 1941)
All I Ask of You
from Phantom of the Opera
Andrew Lloyd Webber
(b. 1948)
Amanda Lochner, soprano
Luck Be a Lady
from Guys and Dolls
Frank Loesser
(1910-1969)
Seasons of Love
from RENT
Jonathan Larson
(1960-1996)
Katie Bowles, Lauren Morelli, Amanda Lochner,
Claire Misbach, Joel Watson, Leah Roberts,
Hannah Piechowski, Magenta Robison
Special thanks to Mr. John Jones, Jason Mallory, and
Katherine Hammond. I also would like to thank my
parents who have been supportive in all of my musical
endeavors. To my friends, life would not be as fun if you
weren 't in it. Thank you for coming! I love you all!
School of
music
IMVERSITYof IOUISVILLE
dare to be great
presents
Carrie L. Baxter,
bassoon
student of Matthew Karr
with
Deborah Dierks, piano
Graduate Recital
Sunday Afternoon
April 16, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you
PROGRAM
Concerto a Fagotto principale
I. Allegro
II. Largo
III. Rondo
Gioacchino Rossini
(1792-1868)
Sonatine pour Basson et Piano
I. Allegro con moto
II. Aria
III. Scherzo
Alexandre Tansman
(1897-1986)
Three Inventions for Solo Bassoon
I. J = 120
n. J = 100
III. J = 108; J> = 126
George Perle
(b. 1915)
INTERMISSION
Sonate Paul Hindemith
I. Leicht bewegt (1895-1963)
II. Langsam; Marsch; Beschlufi, Pastorale - Ruhig
First Sonata in E Minor for Violoncello
and Piano, Op. 18
I. Allegro non troppo
II. Allegretto quasi Menuetto
III. Allegro
Johannes Brahms
(1833-1897)
This recital is given in partial fulfillment of the requirements
for the Master of Music degree.
\
PROGRAM NOTES
Concerto a Fagotto principale Gioacchino Rossini
(ca. 1840) (February 29, 1792-November 13, 1868)
Discovered in the late 1990s, with the first edition piano reduction
published in 2000, this piece has been shrouded in mystery. Bassoonists
have confirmed that there is a bassoon concerto by Rossini, and believe
Concerto a Fagotto principale tobethatwork. However, Rossini scholars, such
as Philip Gossett, argue that since the manuscript is not in Rossini's
handwriting, and no author is mentioned, the concerto cannot be attrib¬
uted to Rossini.
Assuming Rossini is the author, it is believed to have been written
in the early- to middle-1840s for 17-year-old bassoonist Nazareno Gatti,
who was studying at the Bologna Conservatory, as a final examination
piece. This leads some to believe that Rossini sketched out the piece and
Gatti finished the composition, which could explain notes technically out
of the range for the time period.
The concerto is in a standard three movement form - Allegro,
Largo, and Rondo - but it is the keys that draw attention. The Allegro is
in B-flat major, while the aria-like Largo is in E-flat minor, and the showy
Rondo is in F major.
Sonatine pour Basson et Piano Alexandre Tansman
(1952) (June 12,1897-November 15,1986)
Tansman is of French origin, yet he describes himself as a Polish
composer. He wrote two works for bassoon and piano, both of which have
become "standards" of the bassoon literature. The Sonatine, written in
1952, is the more challenging piece in comparison to the Suite, written in
1960.
His camaraderie with Stravinsky is evident almost immediately
in the first movement, Allegro con moto, especially his approach to rhythm.
This movement ends with a quasi-cadenza, slower section that links it to
the lyrical and flowing Aria second movement. This sequences immedi¬
ately into a bright Scherzo finale to end the work.
Three Inventions for Solo Bassoon George Perle
(1962) (b. May 6,1915)
George Perle is a Pulitzer Prize-winning composer who was a
member of the University of Louisville faculty in 1949-1957. In 1962, Three
Inventions was dedicated and premiered by bassoonist William Scribner.
The first of the Three Inventions contains blocks of sound in different registers
with constant fluctuations in tempo. This movement also has several low
F's which were originally multiphonics in the manuscript and played as
such at the premiere. The multiphonics have never been added to the
bassoon parts now in print. In addition, Perle wrote high G's (above the
treble clef) which requires the bassoonist to place teeth on the reed, almost
like playing a harmonic on a stringed instrument. Both the first and second
movements contain these high notes surrounded by rests. The second
movement is characterized by contrasting sections of slow and fast notes,
while the third movement has a slower introduction and then driving
constant sixteenth notes requiring carefully placed breathing.
Sonate Paul Hindemith
(1938) (November 16,1895-December 28,1963)
As the foremost leading German composer of his generation,
Hindemith composed the Sonate for bassoon and piano in 1938, in the midst
of the set of solo sonatas he began writing in 1935. He learned to play all
of the instruments that he wrote these solo sonatas. This gave the bassoon
work exceptional qualities as Hindemith was sensitive to register tenden¬
cies.
There are four major sections divided into two movements. The
first movement is flowing with a lightly moving melody that is developed
throughout the movement. The other three sections are played in the
second movement withoutpause in-between: Langsam; Marsch; and Beschlup,
Pastorale-Ruhig. The sections surrounding the Marsch are tranquil and
lyrical while the Marsch itself sounds very "German" and intrusive in
comparison.
First Sonata in E minor for Violoncello Johannes Brahms
and Piano, Op. 18 (1866) (May 7,1833-April 3,1897)
The E minor Sonata was Brahms' first sonata for two instruments
(cello and piano). In three movements, the first movement in sonata form.
Allegro non troppo, begins with a beautiful low register melody that unfolds
into an exciting movement that slowly brings itself down to a quiet end.
The second movement implies a minuet and trio that lends itself to
hesitating qualities with a moving trio. The final movement. Allegro, is an
exciting fugue with a subject and a countersubject that he wrote just after
the death of his mother. He based this movement on the twelfth
Contrapunctus in The Art of the Fugue.
The work is virtuosic and beautiful on the cello, and also on the
bassoon. Some of the challenges for cello are also challenges on the bassoon.
The bassoon must also adapt breathing for longer phrases than it is used
to, as well as register jumps that bassoons do not usually do. Trying to
emulate the sound of an open string and a cello vibrato may never be the
same on a bassoon, no matter how hard a bassoonist may try. assoon
literature is sparse, so bassoonists sometimes borrow pieces such as this
sonata, that actually work well for the bassoon.
University of Louisville School of Music
Double Bass Studio Recital
April 17, 2006
Program
Carmen Fantasy Frank Proto
Prelude: Cadenza (b. 1941)
Aragonaise
Suite in G Major
Menuet I & II
Gigue
Largo et Scherzando Victor Serventi
(1907-2000)
Nicholas Wooldridge, double bass
David George, piano
J. S. Bach
(1685-1750)
Incantation pom- Junon
Francis Rabbath
(b. 1931)
Concerto
Allegro
Andante
Christopher Korenkiewicz, double bass
Drew Foley, piano
Serge Koussevitzky
(1874-1951)
Sonata in A Minor G. P. Telemann
Largo (1681-1767)
Allegro
Soave
Bagatelles
Quickly
Eric Heckard
(1963-1989)
Madrigal
Charles Blanton, double bass
Drew Foley, piano
Carlos Chavez
(1899-1978)
A
A A *
BRIEF INTERMISSION
* *
Sonata in D Major, BWV 1028
J. S. Bach
Adagio
(1685-1750)
Allegro
Croquis
Serge Lancen
Habanera
(1922-2005)
Concerto
J. B. Vanhal
Adagio
(1739-1813)
Alice Markiewicz, double bass
Austin Echols, piano
Intermezzo, op. 9, no. 1
Reinhold Gliere
(1873-1956)
A Farewell to a Short Friend
Aaron Stepp
(b. 1985)
Concerto
Giovanni Bottesini
Andante
(1821-1889)
Elizabeth Adams, double bass
Melanie Williams-Sublett, piano
School of
music
INIVERSITY of IOUISVILLE
' -—
dare to be great
presents
University
Community Band
and
Concert Band
Greg Byrne, director
Sarah Danyi, graduate assistant
Monday Evening
April 17, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event offire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, eleceronic watches and pagers. Thank you
PROGRAM
University Community Band
Children of the Regiment Julius Fucik
(1872-1916)
Ave Maria Franz Schubert
(1797-1828)
trans. Frank Ticheli
Clarinetango Bruce Fraser
Simple Gifts Frank Ticheli
(b. 1958)
American Riversongs Pierre La Plante
PAUSE
University Concert Band
Processional of the Nobles
Nicholas Rimsky-Kntsako.v
(1844-1908)
The Seasons
I. Spring Sunshine
II. Summer Siesta
Philip Sparke
(b. 1951)
Courtly Airs and Dances
I. Intrada
IV. Saltarello
VI. Allemande
Sarah Danyi, guest conductor
Ron Nelson
(b. 1929)
Pablo
Richard Meyer
University Community Band
Greg Byrne, director
Flute
Mary Ellen Adams
Jennifer Davenport
Betty Muse
Melanie Pawul
Clarinet
Brenda Chaplin
David McArthur
Carolyn Skinner
Bass Clarinet
Louise McKinstry
Alto Saxophone
Bud Blevins
Sonny Neurath
Tenor Saxophone
Amy Jo Working
Horn
Andrew Clark
Trumpet
Tabitha Evans
Elizabeth Matera
Mike Pawul
Harry Rinehart
David Westenfield
Trombone
Evan Bullock
Ben Gretzer
Tuba
Sara Doolin
Percussion
Gaylord Long
Alyssa Spaulding
University Concert Band
Greg Byrne, director
Flute
Meredith Blankenship
Robin Clough
Lindsy Edens
Mary Kate Holland
Megan Johnson
Stephanie Wente
Clarinet
Ashley Chapman
Angel Hernandez
Cara Scott
Alicia Smith
Ben Stange
Bass Clarinet
Michael Burkhead
Bassoon
Molly A. W. Perry
Alto Saxophone
Luke Barker
Tenor Saxophone
George Flores
Baritone Saxophone
Merritt Navazio
Horn
Andrew Clark
Chip Davidson
Hank Davis
Shane Lorenz
Stephanie Radcliffe
Nicole Reiter
Daniel Thompson
Trumpet
Gabrielle Brown
Andrew Chastain
Jaephus N. Craig
Jonathan Gamer
Marshall Kaufman
Kenny Longshore
Kyle Powell
Jesse Schuler
Jennifer Stidham
Amy Jo Working
Trombone
Sarah Baker
Elise Brittain
Jeffrey Buehring
Jennifer Campbell
Jacqueline Miller
David Thomas
Euphonium
Jamie Hafley
Sabrina Hensley
Ryan Thornhill
Whitney Winstead
Tuba
Evan Douglas Bullock
Michael Dempsey
Matthew Murphy
Whittney D. Tillman
Percussion
Glenn Anderson
Douglas Dallmann
Katherine Hutchings
Cassie Lyles
David Schuchard
Alyssa Spaulding
Taylor Stamper
School of
music
INIVERSITYof LOUISVILLE
dare to be great
presents
Amanda Taylor,
flute
student of Kathleen Karr
with
Krista Wallace-Boaz, piano
Senior Recital
Tuesday Evening
April 18, 2006
7:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Ple,\se silence cell phones, electronic watches and pagers. Thank you
PROGRAM
Sonata in E Minor, BWV 1034 Johann Sebastian Bach
Adagio ma non tanto (1685-1750)
Allegro
Andante
Allegro
Fantaisie Pastorale Hongroise, Op. 26 Franz Doppler
(1821-1883)
East Wind Shulamit Ran
(b. 1949)
SHORT PAUSE
Canzone Samuel Barber
(1910-1981)
Chant de Linos Andre Jolivet
(1905-1974)
This recital is given in partial fulfillment of the requirements
for the Bachelor of Music degree.
PROGRAM NOTES
Sonata in E Minor, BWV 1034 Johann Sebastian Bach
The Sonata in E Minor is one of 6 sonatas composed for flute by J. S.
Bach. It shows both the virtuosic capabilities of the flute and keyboard
player. Today, this sonata is thought to have been composed in 1724, or
possibly before. There is still debate on where Bach wrote the sonata in
Cothen or Leizpig. This sonata is a great example of the Baroque sonata de
chiesa, with the standard movements falling into a slow-fast-slow-fast
form. The opening movement is dramatic and lament-like, concluding
with high expectations. These expectations are fulfilled with an intense
and energetic second movement that ends on a large vibrant E minor chord.
Next, the third movement contrasts with the previous because of its aria¬
like nature. The beautiful melody of this movement is unforgettable and
a favorite of listeners everywhere. The final movement is comparatively
thicker in texture than the previous movements, and there is more inter¬
action between the flute and keyboard.
Fantaisie Pastorale Hongroise, Op. 26 Franz Doppler
Franz Doppler was born in Lemberg, Poland, in 1821. Having spent
some time in Hungary, Doppler had close ties to the country. As an
accomplished flute player and composer, Doppler wrote his Fantaisie
Pastorale Hongroise knowing the virtuosic capabilities of the instrument.
Doppler's virtuosic flare and demeanor in this piece might best be under¬
stood through his love for drama. He not only played, but also conducted
and composed music for the stage. Doppler conducted the National
Hungarian opera in 1941. Fantaisie Pastorale Hongroise is written with
a nationalist flare that he obtained while working and living in Hungary.
As with many works by other Hungarian composers such as Liszt, this
piece is highly chromatic. A dramatic andantino section is heard at the
beginning. The final allegro finishes the piece in high spirits.
East Wind ShulamitRan
Shulamit Ran is a winner of the Pulitzer Prize in music composition.
Bom in Israel, Ran's compositional style has been described as "intensely
dramatic." East Wind, a treasure in the flute repertoire, exemplifies inten¬
sity along with drama. This piece for solo flute was commissioned in 1988
for the National Flute Association's Young Artists Competition. The title
of this piece reflects upon the nature of the work. Throughout, there are
short, whimsical passages of high energy and intensity. There are actually
performance notes for the flutist to play "like wind." The work reminds
the listener not only of mere wind, but chaotic storms and lightning, that
eventually cools off into summer rain at the end. The motives that reoccur
throughout eventually come together, and make the piece one entity.
Shulamit Ran best describes East Wind's central image as being "orna¬
mented, inflected, winding, twisting, convoluted lines, a gentle melody
gradually emerges..."
Canzone Samuel Barber
An important composer in American history, Samuel Barber may be
best known for his famous work. Adagio for Strings (1936). Barber is one of
the only composers of his time to write tonally-centered. Romantic works.
Canzone exhibits this quality of Barber's writing. Its song-like setting is
transcribed, by the composer, from the second movement of his Piano
Concerto, Opus 38. The first performance of his piano concerto was in 1962,
and shortly after followed this transcription. The listener still hears a
concerto-like setting between the flute and the piano and the exchange of
melodic material between the two instruments. The beautiful, haunting
melodic line which is first heard in the beginning develops through the
piece but eventually comes to a large climatic point at which the piece
winds down and the flute exhaustingly makes its exit on a fragment of the
developed melody.
Chant de Linos Andre Jolivet
Andre Jolivet best describes the flute as "the musical instrument par
excellence, because enlivened by breath, by this deepest outstreaming of the
human being - it fills its notes with that which is at the same time corporal
and cosmic within us." Chant de Linos is just one of the many great flute
works written by Jolivet. This list of flute works ranges from a concerto
to many chamber works that exhibit the flute as a masculine and virtuosic
instrument capable of playing the most intense music. Chant de Linos was
composed with inspiration from Greek mythology. Linos was the son of
Apollo and Urania. He was the best musician that ever lived, and it was
he who invented rhythm and melody. Linos' fate was sealed when Her¬
cules killed him with his own lyre. The song of Linos was a lament for the
dead, which spread all around the world after his death. Not only was it
a lament, but also ritualistic cries and dances. The slow lament can be heard
in Jouvet's composition three separate times, revoking the same mysteri¬
ous melody. Between these laments, ritualistic cries and outbursts can be
heard. A 7/8 metered section in this piece best exemplifies Joliet's musical
definition of an off-centered barbaric dance of the dead. Striking runs into
the highest octave on the flute show the cries in the morbid lament for
Linos. After composing Chant de Linos for flute and piano, in 1945 Jolivet
arranged the same piece for flute, violin, viola, cello, and harp.
music
IMVERSTIYof IDUISVTLLE
--
dare to be great
presents
University Jazz
Combos
Dave Clark, Chris Fitzgerald
and Tyrone Wheeler,
directors
Tuesday Evening
April 18, 2006
8:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
"Percy Heath" Combo
Tyrone Wheeler & Dave Clark, directors
Nica's Dream
Horace Silver
Chi Chi
Charlie Parker
Close Your Eyes
Bernice Petkere
Joshua
Victor Feldman
Dave Clark, alto saxophone
Tommy Zinninger, tenor saxophone
Sam Farley, piano
Jenna Mattingly, bass
Doug Dallmann, drums
"Oscar Pettiford" Combo
Chris Fitzgerald, director
Dear Old Stockholm
Ack Varmeland
Upward
Dan Dorff
Eiderdown
Steve Swallow
Alexis Marsh, alto saxophone
Brian Koning, trumpet
Matt Yarborough, trombone
Sam Farley, piano
Chris Fitzgerald, bass
Dan Dorff, drums
THE
UNIVERSITY OF LOUISVILLE
SCHOOL OF MUSIC
Annual Meeting
Wednesday, April 19,2006
Home of Carl and Roberta Fischer
4:00 p.m.
Order of Business
Call to Order
Welcome Comments from the Dean
General Business Meeting
Dean Christopher Doane, presiding
Treasurer's Report - Luis Prada
Old Business
Election of Board Members
Introduction of New Officers
Dean's Report - Dr. Christopher Doane
Musical Program - Dr. Naomi Oliphant
The School of Music and members of the Board of the Friends of the
School of Music extend their deepest gratitude to Carl and Roberta
Fischer for opening their beautiful home to us this afternoon.
Musical Program
Symphony No. 3 in D Major Giovanni Battista Sammartini
Allegro (c. 1700-1775)
Largo
Presto
Members of the University Early Music Ensemble
Scott Moore, Gerome Stewart, Juan Carlos Ortega,
and Marisa Barnes, violins
Monica Clarke, viola
Liz Adams, bass
Jack Ashworth, harpsichord / director
Concerto for Trumpet
I. Allegretto
Matthewjanssen, trumpet
(student of Michael Tunnell)
Krista Wallace-Boaz, piano
La puerta del vino
from Preludes, Book II
Andrea Reynolds, piano
(student of Brenda Kee)
Minor Johann Sebastian Bach
BWV 1002 (1685-1750)
Scott Moore, violin
(STUDENTOF J. PATRICK RAFFERTY)
Halka'sAria Stanislaw Moniuszko
from the opera Halka (1819-1972)
Boli mnie glowa (My Head Aches) (1955) Grazyna Bacewicz
(1909-1969)
Ewa Biegas, soprano
Grzegorz Biegas, piano
(Visiting Faculty from the Szymanowski
Academy of Music, Katowice, Poland)
Partita No. 2 in B
for Solo Violin,
Corrente
Double
John Addison
(1920-1998)
Claude Debussy
(1862-1918)
Upcoming Events at the School of Music
(All events are admission free and held in Margaret Comstock Concert Hall,
unless otherwise noted. Events are subject to change.)
Wednesday, April 19 - 6:00 p.m.
University Flute, Horn, and Clarinet Ensembles
Wednesday, April 19 - 8:30 p.m.
Student Recital: Thomas Zinninger, saxophone ( Malcolm Bird Recital H all)
Thursday, April 20 - 7:00 p.m.
University Tuba, Euphonium, Trombone, and Sackbutt & Cornett
Ensembles
Thursday, April 20 - 8:30 p.m.
Graduate Recital: Matthew Janssen, trumpet
Friday, April 21 - 3:30 p.m.
Grawemeyer Award Winner Lecture: Gyorgy Kurtag, composition
Friday, April 21 - 5:30 p.m.
Student Recital: Kevin Arbogast, saxophone
Friday, April 21 - 7:00 p.m.
Graduate Recital: Ryan McCaslin, trumpet
Friday, April 21 - 8:30 p.m.
Graduate Recital: Anastasi Fafalios, bass trombone
Friday, April 21 - 8:00 p.m. and Sunday, April 23 - 2:00 p.m.
University Opera Theatre: The Mikado by Gilbert & Sullivan. ( Bombard
Theatre, The Kentucky Center, 501 W. Main St.) Tickets are $20 for general
admission and $ 10 forstudents and can be purchased through the Kentucky
Center Box Office at 502-584-7777 (toll-free 1-800-775-7777) or online at
www.kentuckycenter.org.
Saturday, April 22 - 2:00 p.m.
Graduate Recital: Autumn Pate, horn
Saturday, April 22 - 2:00 p.m.
Preparatory Department Recital: violin students of Franzeli Sharp
(Malcolm Bird Recital Hall)
U of L Music Concert Line
PH: 502-852-0524
music.louisville.edu
School of
music
INIVERSITYof IDUISVILLE
dare to be great
presetits
University
Flute, Horn,
and Clarinet
Ensembles
Kathleen Karr, director
Bruce Heim, director
Dallas Tidwell, director
Wednesday Evening
April 19, 2006
6:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you
PROGRAM
University Flute Ensemble
Kathleen Karr, director
Flute Duet, Op. 80, No. 2
Adagio, Allegro con brio
Friedrich Kuhlau
(1786-1832)
Katie Fondrisi & Kathleen Karr
Carmen Impressions for four flutes Georges Bizet (1838-1875)
Habanera arr. Kurt Walther
Amanda Taylor, John Todd Aurelius, Meghan Johnson, Kathleen Karr
Sonata in A Minor for solo flute
Allegro
Meghan Johnson
C. P. E. Bach
(1714-1788)
Fantasy No. 2 in A Minor for solo flute Georg Philipp Telemann
Adagio (1681-1767)
Allegro
John Todd Aurelius
Masque - Incidental 11 for Two Flutes
Penelope Quesada & Tiffany Wilson
Torn Takemitsu
(1930-1996)
East Wind for Solo Flute
Amanda Taylor
Rapid Fire (1992) for Solo Flute
Shulamit Ran
(b. 1949)
Jennifer Higdon
(b. 1962)
Tiffany Wilson
Friedrich Kuhlau
Flute Duet, Op. 80, No. 2
Larghetto
Rondo
Amanda Taylor & Kathleen Karr
Die Moldau Bedrich Smetana
arranged for four flutes (1824-1884)
Amanda Taylor, John Todd Aurelius, Meghan Johnson, Kathleen Karr
University HornEnsemble
Bruce Heim, director
Prelude and Fugue in A Minor
J. S. Bach (1685-1750)
arr. Lowell Shaw
Nonet
I. Moderato
III. With Good Humor
Alec Wilder
(1907-1980)
Motet Chorale "Jesu, meine Freude"
Matt Smith, conductor
J. S. Bach
arr. Lowell Shaw
Suite for Four Homs: "Prelude"
Eugene Bozza
(1905-1991)
Fanfare for Bares
Kerry Turner
(b. 1960)
Horn Bluff
Alan Civil
(1929-1989)
Farewell to Red Castle
Kerry Turner
Colin Dorman, Nickie Lewis, Jessica Niedwick, Autumn Pate, Matt
Peyton, Sara Poe, Miranda Polzer, Lindsay Pummell, Stephanie
Radcliffe, Kate Reyman, Dominic Rotella, Leah Simer, Matt Smith
with guests
Paul Mormino, horn & Daryl Johnson, tuba
University Clarinet Ensemble
Dallas Tidwell, director
Skim
Divertimento No. 1
Allegro con spirito
Chorale St. Antoni
Minuetto
Rondo allegretto
Monochrome II for Nine B-flat Clarinets
Pavane pour une infante defunte
Concerto in E-flat F. XI, No. 28
Allegro molto
Andante molto
Allegro molto
Rodney Watschka
(b. 1961)
Franz Joseph Haydn
(1732-1809)
Peter Schickele
(b. 1935)
Maurice Ravel
(1875-1937)
arr. David Hite
Antonio Vivaldi
(1678-1741)
arr. by Kermit Peters
Amanda Wright, Sharon Edmonds, Carolyn Fassio, Angel Hernandez,
Adam Thomas, Laura Nation, Michael Burkhead, Chris Phillips,
Lashanda Walker, Jennifer Hoffman
School of
music
IMVERSITY of I0UISVTLLE
dare to be great
presents
Thomas Zinninger,
saxophone
student of John Moore
with
Krista Wallace-Boaz, piano
Student Recital
Wednesday Evening
April 19, 2006
8:30 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonata No. 2 in F Major
Largo (piii tosto andante)
Allegro (deciso)
Largo (non troppo, amoroso)
Allegro (con brio)
Barcarolle
Sonata for Tenor Saxophone and Piano
Allegro moderato
Molto vivace
Lento
Fantasia
Anime
Lentement
Tres anime
Antonio Vivaldi
(1678-1741)
Sherwood Shaffer
(b. 1934)
Walter S. Hartley
(b. 1927)
Heitor Villa-Lobos
(1887-1959)
School of •
music
INIVERSITY of L OUISVILLE
dare to be great
Thursday, April 20, 2006
3:00 p.m.
Malcolm Bird Recital Hall
Convocation
Cello Suite No. 3
Bourree I
Bourree H
Anthony Olympia, classical guitar
MUS 303 / Walker
J. S. Bach
(1685-1750)
Bassoon Concerto in F Major, Op. 75
(second movement )
Carl Maria von Weber
(1786-1826)
Erica Jones, bassoon
MUS 412 / M. Karr
Austin Echols, piano
Intermezzo
Jessica Niedwick, french horn
MUS 212 / Heim
Connie Wilcox, piano
Reinhold Gliere
(1875-1956)
Sonata in A Major
Domenico Scarlatti
(1685-1757)
Robert Wallen, classical guitar
MUS 212 / Walker
from Concerto for Double Bass
Andante
Rondo
Antonio Capuzzi
(1755-1818)
Matt Byrum, euphonium
MUS 112/Jones
Monica Clarke, piano
Leo Brouwer
(b. 1939)
Le Decameron Noir pour Guitar
I. La Harpe du Guerrier
Billie Bradford, guitar
MUS 104 / Walker
W. A. Mozart
(1756-1791)
Stephanie Radcliffe, french horn
MUS 112/Heim
Austin Echols, piano
Horn Concerto No. 1
Rondo, Allegro
Sonata in E Minor
Adagio
Hannah Turi, viola
MUS 412 / Hofman
Austin Echols, piano
Benedetto Marcello
(1686-1739)
Sonata for Horn and Piano, Op. 17
Allegro moderato
Ludwig van Beethoven
(1770-1827)
Miranda Polzer, french horn
MUS 212 / Heim
James Dersch, piano
Mauro Giuliani
(1781-1829)
Jennifer Baker, classical guitar
MUS 112 / Walker
from Sonatine, Op. 71, No. 1
Maestoso
^music
LNlVERSlTYqflOJISWUE
dare to be great
Thursday, April 20, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Sonate I
Adagio
Allegro
Allegro
Wendy Frazee, oboe
MUS 412 / Booze
Adrienne Fontenot, piano
Fantasiestiicke
ID. Rasch und mit fever
Charlie Patton, cello
MUS 204 / York
Adrienne Fontenot, piano
Symphonie Espagnole, Op. 21
Allegro non troppo
Sowmya Srinivasan, violin
MUS 412 / Rafferty
John Hernandez, piano
Evocations
I. Peruvienne
Gretchen Reiter, oboe
MUS 412 / Booze
Nocturne in F Minor, Op. 55, No. 1
Convocation
G. F. Handel
(1685-1759)
Robert Schumann
(1810-1856)
Edouard Lalo
(1823-1892)
Henri Tomasi
(1901-1971)
Frederic Chopin
(1810-1849)
Aaron Craker, piano
MUS 211 /Kee
Ralph Vaughan Williams
(1872-1958)
Six Studies in English Folksong
in.
V.
Ashley Pickering, bassoon
MUS 311/M. Karr
David George, piano
Carmen Fantasy
Prelude
Aragonaise
Nick Wooldridge, double bass
MUS 312 / King
Aaron Craker, piano
Frank Proto
(b. 1941)
Christian Gentry
(b. 1978)
Trial Not By Jury
Kevin Arbogast, alto saxophone
MUS 204 / Moore
m^rmusic
IMVERSIlYtf I OUISVILLE
dare to be great
Thursday, April 20, 2006
3:00 p.m.
Room LL65 (Band Room)
Convocation
Rhapsody for Euphonium James Cumow
(b. 1943)
Jeffrey Buehring, euphonium
MUS 412/Jones
Lou Bailey, piano
Sonata
With Strength and Vigor
Zachary Schell, trumpet
MUS 104 / Tunnell
Deborah Dierks, piano
Kent Kennan
(b. 1913)
Fantasia for Euphonium and Band Gordon Jacob
(1895-1984)
Brendan Vincent, euphonium
MUS 412/Jones
Deborah Dierks, piano
Deux Danses
Danse profane
Jean-Michel Defaye
(b. 1932)
Audrey Davis, tenor trombone
MUS 304 / Shuster
Deborah Dierks, piano
Villanelle
Paul Dukas
(1865-1935)
Nickie Lewis, horn
MUS 312/Heim
Deborah Dierks, piano
Andante et Allegro
Marshall Kaufman, trumpet
MUS 112 / Tunnell
Deborah Dierks, piano
Guy-Joseph Ropartz
(1864-1955)
Meditation hebraique
Ernst Bloch
Processional
Scott Farley, viola
MUS 303 / Hofman
Sandra Duran, piano
(1880-1959)
Noctumo
Matt Peyton, horn
Franz Strauss
(1822-1905)
MUS 212 / Heim
John Hernandez, piano
/
School of
music
IMVERSITY of lOUISVILlE
dare to be great
presents
Matthew Janssen
trumpet
student of Michael Tunnell
with
Krista Wallace-Boaz, piano
Graduate Recital
Thursday Evening
April 20, 2006
8:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Pleasesilencecell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonata No. 1 in F Major PietroBaldassare
Allegro (1683-1768)
Grave
Allegro
Concerto in E-flat for Trumpet (1796)
Allegro
Andante
Allegro
Sergiu Natra
(b. 1924)
INTERMISSION
Sonatina (1969)
Molto adagio
Presto assai
Senza misura ad libitum
Tempo giusto
Franz Joseph Haydn
(1732-1809)
Concerto for Trumpet (1951)
Allegretto
Adagio misterioso
Allegro con brio
Solo de Concours
John Addison
(1920-1998)
Theo Charlier
(1868-1944)
This recital is given in partial fulfillment of the requirements
for the Master of Music degree.
PROGRAM NOTES
Sonata No. 1 in F Major PietroBaldassare
Baldassare, an Italian church musician, was maestro di cappella of at least two
churches in Brescia, Italy. Much of his compositional work was for choral
ensemble. Unfortunately, nearly all of his oratorios and cantatas have
been lost. His known instrumental works include one sonata for harpsi¬
chord and two sonatas for cometto, strings, and basso continuo, the first
of which is heard tonight. The cometto is a renaissance instrument that
is much like a cross between trumpet and recorder. The instrument has a
mouthpiece which the performer buzzes into, much like a brass instru¬
ment. However, the cometto has a system of finger holes which are used
in a similar manner as they are on a recorder or flute. The tone is the nearest
to the human voice of any instrument, with its great flexibility and
expressiveness.
The first movement is organized by means of tonal relationships and
makes use of a florid melody line, typical in compositions for cometto. The
two sections make use of the same melodic material. The first statement
in the tonic key is repeated by the soloist. The repeated melodic statement
cadences in the dominant key and leads to a statement of the theme in that
tonality. After some meandering, a cadence in the mediant key follows.
After a slight pause the final restatements of the melody are made in the
tonic key. The second movement, in the relative minor key, features a
lyrical melody. Baldassare goes against tradition of the time by including
the soloist in the slow second movement. This leads to some stunningly
spun melodies which make use of the Baroque technique of ornamentation.
The final movement is a lively minuet which features significant interplay
between soloist and continuo.
Concerto in E-flat for Trumpet Franz Joseph Haydn
Haydn's famed trumpet concerto, written in 1796 for Anton Wiedinger, is
a staple in the repertoire of nearly all trumpet players since its first modem
performance by Alphonse Goeyens around the turn of the 20 th century. The
work was premiered by Wiedinger on March 22,1800. It is unknown why
there is such a large period of time between composition and premier. One
possible explanation is that Wiedinger was working out the technical side
of the keyed trumpet. The keyed trumpet, developed by Wiedinger during
the late 18 ,h century, makes uses of vents that add chromatic possibilities
in the lower register that were previously unknown with the natural
trumpet. Even though this piece showcases a new instrument and its
chromatic potential, the first statements are fanfares. Haydn's sense of
humor comes to light in his use of this technique, something already
possible with the natural trumpet. The soloist's first statement of the main
theme finally makes use of scalar and chromatic passages in a register
where they were impossible on earlier instruments.
The first movement is in sonata form and ends with a cadenza. The
composer contrasts the solo material between heroic fanfares and melodic
lines. This highlights tire difference between the natural trumpet and the
new chromatic instrument. It is possible that the second movement is the
most popular with listeners. Its tuneful Andante melody rolls along,
sounding almost like a lullaby. The third movement features the virtuosity
of the soloist and brings the concerto to a dramatic finish.
Sonatina Sergiu Natra
Sergiu Natra was commissioned to write his Sonatina by the Israeli Na¬
tional Council for Culture and Art. His notes in the score comment that
while the original purpose for the composition was sight reading, it
continues to pose interpretational challenges for concert performances
today.
Long broad melodies in the first movement push the soloist dynamically.
The second movement makes use of syncopation and constant meter
changes, with the opening material returning as a coda. Dramatic dynam¬
ics and long melodies are use in the third movement. The melody is notated
in a free rhythmic style and is reminiscent of chant melodies. The move¬
ment moves directly into the fourth and final movement. The final
movement makes use of very short melodic and rhythmic motives, a
technique that is typical in much of Natra's music.
Natra was bom in Bucharest, Romania and studied composition at the
Bucharest Academy of Music. He is the recipient of numerous composition
prizes and his works have been performed by many Israeli performing
groups. In 1961 he moved to Tel-Aviv to teach composition at the Rubin
Academy of Music.
Concerto for Trumpet JohnAddision
John Addison was a prolific composer of music for film and stage. Born in
England, he relocated to Los Angeles in 1975. He is the recipient of an
Academy Award and possibly best known for writing music for the
television syndication Murder, She Wrote. This three-movement concerto
was originally written for string orchestra, percussion, and solo trumpet.
Today we hear a reduction for trumpet and piano, written by the com¬
poser. This piece was recorded by Leon Rapier, former University of
Louisville Professor of Trumpet, and the Louisville Orchestra on the First
Edition series.
Making use of a large scale A-B-A'-cadenza-coda form in the first move¬
ment, the concerto opens with the main theme in the solo, while the
accompaniment provides rhythmic and harmonic motion. The efferves¬
cent main theme is contrasted with the lyrical, yet rhythmic second theme.
Both melodies are built on the interval of a perfect fourth. Following the
soloist's announcement of the second theme the composer makes use of it
throughout the rest of the movement, twice as material for a fugue in the
accompaniment. The A' section is the main theme treated in a 12/8 meter
giving the original material a slightly brighter feel at the same tempo. The
written cadenza, again based on the interval of a perfect fourth, moves into
a coda, restating the B theme material followed by a final statement of the
A' melody.
Opening with a muted fanfare, the second movement is based on the
interval of a perfect fifth. The longing fanfare is intermingled with sweep¬
ing lyrical lines. The second theme is reminiscent of a medieval chant
melody. The fanfare returns and develops into an accompanied cadenza.
The opening fanfare returns once again. The movement ends with a
meandering trumpet melody and one final restatement of the "chant"
melody in the accompaniment.
The final movement showcases the virtuosity of both soloist and accom¬
panist. The opening theme, stated in the solo trumpet, is again based on
the interval of a perfect fourth. The second theme is an animated descend¬
ing triplet line that outlines triads. This is related to the fugue subject that
leads to the final restatement of the main theme by the soloist. A short coda
brings the movement to a dramatic and energetic finale.
fim n nt Cnwpounc Tiiio Cnnnucn
Theo Charlier, virtuosic trumpeter and teacher, was born in Belgium. He
is probably best known in the trumpet realm for his 36 Etudes for Trumpet.
Solo de Concours is the first of two contest solos, most likely written for
contests in which he was a member of the jury. The second was written
for trumpet and orchestra. This composition, however, was written for
trumpet and piano. It is the only piece on tonight's program that originally
paired these two instruments.
The piece, which is romantic in style, contrasts strong melodies and
virtuosic passages with long lyrical lines. The piece is assembled much like
a concerto, with three distinct sections (fast-slow-fast). The first, marked
Allegro deciso, presents a sweeping romantic melody in 12/8 time and in the
key of B-flat minor. This gives way to the lyrical air in the middle of the piece
set in the key of G-flat major. The rolling accompaniment well supports
the soloist's line. The distant melody brings this section to a calm finish.
The "Final" section returns to B-flat minor and is a 5/4 dance-like tune
proceeded by a short interlude in the piano. Throughout the piece the
interplay between trumpet and piano is evident, with both taking on solo
and accompaniment roles. A dramatic double tonguing passage, following
a grand pause, and a restatement of the 5/4 dance tune bring the solo to a
fiery and romantic finish.
School of
music
IMVERSHY of IOOBVIIXE
dare to be great
presents
University
Tuba & Euphonium,
Trombone, and
Sackbutt & Cornett
Ensembles
John Jones, director
Brett Shuster, director
Thursday Evening
April 20, 2006
7:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
University Trombone Ensemble
"Little" Fugue in G-moll
Johann Sebastian Bach
(1685-1750)
The Chief
Back to the Fair
AnastasiFafalios, bass trombone
John Stevens
(b. 1951)
Bill Reichenbach
(b. 1949)
Music for His Majesty's Sackbutt & Cornett Matthew Locke
Air (c. 1621-1677)
Sarabande
Allemande
University Sackbutt and Cornett Ensemble
Three Equali
I. Andante
II. Andante
III. Andante sostenuto
Scherzo e Corale
Ludwig van Beethoven
(1770-1827)
FrigyesHidas
(b. 1928)
INTERMISSION
University Tuba and Euphonium Ensemble
El Capeo
Paso Doblu Flamenco
Elsa's Procession to the Cathedral
Cosmic Voyage
Finale to Symphony No. 4
A. Parera
arr. T. Ishikawa
Richard Wagner
arr. Matt Hibetts
Michael Forbes
Peter I. Tchaikovsky
arr. Peter Butler
University Trombone Ensemble
Brett Shuster, director
Tenor Trombones
David Bretz
Ian Carroll
Brent Crimm
Allison Cross
Audrey Davis
Michael Dempsey
Ryan Doughty
Krista Eifler
Sarah Finger
Brett Shuster *
Aaron Stepp
Matt Yarborough
Bass Trombones
Evan Bullock
AnastasiFaf alios
Matthew Hubbard
University Sackbutt and Cornett Ensemble
Brett Shuster, director
Sackbutts
Audrey Davis
Brett Shuster *
Aaron Stepp
Anastasi Faf alios
Cornett
Don Johnson
University Tuba and Euphonium Ensemble
John Jones, director
Euphoniums
Daniel Stull
Jeff Buehring
Matt Byrum
Brendan Vincent
Jamie Hafley
Brandon Thomas
Kim Texter
Sarah Danyi
Tubas
Aaron Gaither
Adam Yankowy
Nick Wallace
Stephanie Bragg
Sara Doolin
* faculty
University of Louisville Opera Theatre
presents
IMVERSITYof IflHUf.
dare to be great
Opera Theatre
Kimcherie Lloyd Michael Ramach
music director stage director
presents
W - S- Qifttvf ayid Avf(«MY Suffivav
Friday, April 21, 2006
8:00 p.m.
Sunday, April 23, 2006
2:00 p.m.
Bomhard Theater, Kentucky Center
501 West Main Street, Louisville, KY
The Mikado
(or The Town ofTitipu )
Libretto by W. S. Gilbert
Music by Sir Arthur Sullivan
Setting: Courtyard of Ko-Ko’s Official Residence
Dramatis Personae
The Mikado
Nathan Wilson
Nanki-Poo
Brian Tierney
Ko-Ko
Eric McKeever *
Pooh-Bah
Jason Mallory
Pish-Tush
Christopher Camp
Yum-Yum
Kelly Marie Ballou
PlTTI-SlNG
Sarah Elizabeth Patrick
Peep-B o
Rebecca von Kamp
Katisha
Korin Kormick
Attendants
Jesse Patrick *
Rachel Patrick *
Ladies and Gentlemen of Japan
Christopher Baker §
Leslie Allnatt §
Bruce Bell §
Lucy Bickett §
David Bradley §
Amanda Tarryn Bryant
james DeLotel §
Rianne Marcum
Rick Lovett §
Beth Olliges §
Michael Purintun §
Meghan Patrick
John E. Trueblood §
Sarah Powell
W. S. Walston §
Paula Rada
Mario Wales §
Annette Skaggs §
Adam Yankowy
Kyra Weinberger §
§ Member of the Kentucky Opera Chorus
* Guest of the University Opera Theatre
Synopsis
act i
Nanki-Poo, a wandering minstrel, has come to the town of Titipu in search
of Yum-Yum, a girl with whom he has fallen in love. Ko-Ko, her guardian,
had been condemned to death under the Mikado's capricious law against
flirting, but has since been appointed Lord High Executioner on the
assumption that he will be unwilling to enforce a law of which he himself
must be the first victim. While Ko-Ko plans to marry Yum-Yum himself,
Nanki-Poo woos the beautiful girl. Yum-Yum returns his affection, but she
is unwilling to defy her guardian.
Meanwhile, Ko-Ko learns that his post is to be abolished by the Mikado for
non-performance of duty. His search for a victim is interrupted by the
appearance of the despondent Nanki-Poo, bent on suicide. The two men
strike a deal that Nanki-Poo may marry Yum-Yum if he will agree to become
Ko-Ko’s first victim at the end of a month.
The general rejoicing that follows this announcement is halted by the arrival
of Katisha, an elderly lady of the Mikado’s court. Thwarted in her efforts to
claim Nanki-Poo as her lover, she attempts to reveal his true identity, but
the entire town shouts her down as the act ends.
ACT II
Act II finds Yum-Yum and Nanki-Poo preparing for their wedding. But Ko-
Ko produces a surprise: "by the Mikado's law, when a married man is
beheaded, his wife is buried alive!” Yum-Yum is having second thoughts
when the approach of the Mikado himself is announced. Ko-Ko panics and
decides that a dead body will not be needed if the proper papers are
produced. He sends Nanki-Poo away to marry Yum-Yum and prepares a
"certificate" of Nanki-Poo’s execution.
The Mikado is delighted to receive the news until he sees the name of the
victim. Ko-Ko now learns for the first time that Nanki-Poo is the son of the
Mikado. Along with Pooh-Bah and Pitti-Sing, who have acted as witnesses
to the fake execution, Ko-Ko is sentenced to be boiled in oil for "compassing
the death of the Heir Apparent.”
When Ko-Ko goes to Nanki-Poo for help, the minstrel explains that he
originally disguised himself in order to escape Katisha’s attentions, and he
has no intention of being anything but "dead” until she is married to
someone else. To save his own neck, Ko-Ko woos and wins the lady in
record time. When the Mikado returns from lunch to find his son still alive,
and Ko-Ko married to Katisha, he declares that "nothing could possibly be
more satisfactory.”
Songs
Act One
Overture
Orchestra
Chorus
"If You Want to Know Who We Are"
Noblemen ofTitipu, Nanki-Poo, Pish-Tush
Song & Chorus
"A Wandering Minstrel I"
Nanki-Poo and Noblemen
Song & Chorus
“Our Great Mikado, Virtuous Man”
Pish-Tush and Noblemen
Song
“Young Man, Despair”
Pooh-Bah, Nanki-Poo and Pish-Tush
Chorus & Song
"Behold the Lord High Executioner"
Ko-Ko and Noblemen
Song
"I’ve Got a Little List"
Ko-Ko and Noblemen
Chorus
"Comes a Train of Little Ladies"
Schoolgirls ofTitipu
Trio
“Three Little Maids from School”
Yum-Yum, Peep-Bo, Pitti-Sing and Schoolgirls
Quintett
“So Please You Sir, We Much Regret"
Yum-Yum, Peep-Bo, Pitti-Sing, Pooh-Bah, Pish-Tush and Schoolgirls
Duet
"Were I Not to Ko-Ko Plighted"
Yum-Yum and Nanki-Poo
Trio
“I Am So Proud"
Pooh-Bah, Ko-Ko and Pish-Tush
Finale
"With Aspect Stern and Gloomy Stride”
Ensemble
There Will Be One Fifteen-Minute Intermission.
Act Two
Chorus & Solo
"Braid the Raven Hair"
Pitti-Sing and Schoolgirls
Song
“The Sun, Whose Rays Are All Ablaze"
Yum-Yum
Madrigal
"Brightly Dawns Our Wedding Day”
Yum-Yum, Pitti-Sing, Nanki-Poo and Pish-Tush
Trio
“Here’s a How-de-do! ”
Ko-Ko and Noblemen
Processional
“Mi-ya Sa-ma"
Mikado, Katisha, Schoolgirls and Noblemen
Song & Chorus
"A More Humane Mikado"
Mikado, Schoolgirls and Noblemen
Trio & Chorus
“The Criminal Cried as He Dropped Him Down”
Ko-Ko, Pitti-Sing, Pooh-Bah, Schoolgirls and Noblemen
Glee
“See How the Fates Their Gifts Allot"
Mikado, Pitti-Sing, Pooh-Bah, Ko-Ko and Katisha
Duet
“The Flowers that Bloom in the Spring"
Nanki-Poo and Ko-Ko, with Yum-Yum, Pitti-Sing and Pooh-Bah
Recitative & Song
“Alone, and Yet Alive!”
Katisha
Song
"Willow, Tit-Willow”
Ko-Ko
Duet
“There is Beauty in the Bellow of the Blast”
Katisha and Ko-Ko
Finale
“For He’s Gone and Married Yum-Yum"
Ensemble
University Symphony Orchestra
Kimcherie Lloyd, director
joe Ortiguera and Noriko Taka, orchestra librarians
First Violin
S cott Moore f
juan Carlos Ortega
Joe Ortiguera
Elise Kotheimer
Cordia Thompkins
Nicole Reiter
Second Violin
G erome Stewart $
Tanya Derringer
Leslie Heinzen
Alex Petersen
Arezou Etemad
Savannah Sharp
Viola
James Dersch $
Scott Farley
Monica Clarke
Alisson Reber
Cello
Marlene Ballena $
Clayton Vaughn
Erin Cassel
Bass
Adam Cobb $
Alice Markiewicz
Piccolo
K atie Fondrisi
Flute
Rebecca Johnson
Katie Fondrisi
Oboe
Gretchen Reiter
Clarinet
N oriko Taka
Michelle Linder
Bassoon
C arrie Baxter
Horn
Autumn Pate
Colin Dorman
Trumpet
R yan Nottingham
Melissa McDaniel
Trombone
I an Carroll
Brent Crim
Timpani and Percussion
Matt Greenwood
f concertmaster
$ principal
Biographies
Kelly Marie Ballou, soprano (Yum-Yum)
A Louisville native, Kelly has been studying private voice since the age of
12 and is now a sophomore at the University of Louisville majoring in vocal
performance (student of Edith Davis Tidwell). This is Kelly's debut opera
performance, but her recent accomplishments include winning first prize
in the Sophomore women’s division of the 2006 Regional NATS competition,
as well as singing with the 2006 Kentucky All-Collegiate Choir as the soprano
soloist for the Kyrie of Haydn's Theresienmesse.
Christopher Camp, tenor (Pish-Tush)
Past - University of Louisville Opera Theater Scenes: Almaviva (I Ibarbieredi
S iviglia), Basilio (The Marriage of Figaro ); University of Kentucky Opera Theater
Scenes: Ferrando (Costfan tutte), PrunierfLa R ondine); Bellarmine University
Opera Theater Scenes: Don Ottavio (Don Giovanni); Kentucky Opera: chorus
member, Solo Monk (TOais); Utah Symphony and Opera: chorus member.
Present - Candidate for the Master of Music, University of Louisville (student
of Daniel Weeks). Future- Brevard Music Festival: Camille (The Merry Widow )
Rebecca von Kamp, soprano (Peep-Bo)
Past- University of Akron Opera Theater: Frasquita (C amen), Gianetta ( Uelisir
d'amore), First Lady (Die Zauberflote), various opera scenes. Graduated magna
cum laude with a Bachelor of Music degree from The University of Akron.
University of Louisville Opera Theater: various opera scenes. Kentucky
Opera: Reporter/Teacher (Chasing a Precedent*); Chorus member (Eugene
Onegin). Current - Pursuing a Master of Music degree in Performance from
the University of Louisville (May 2006 - student of Edith Davis Tidwell).
Korin Kormick, mezzo-soprano (Katisha)
2005 Metropolitan Opera National Council Auditions District Winner. Past
- University of Louisville: Ma Moss (The Tender Land), Diana Trapes (The
Beggar’s Opera); Kentucky Opera: Helen Thomas ( Chasing a Precedent*),
Offstage Voice (Little Women), Cio-Cio San’s mother (M adama Butterfly).
Concert - Choral Fantasy (Beethoven), Make We ]oy (Spencer), Magnificat
(Vaughan Williams). BA, Centre College; MM, University of Louisville (May
2006 — student of Daniel Weeks). Future — Kentucky Opera: Dian Fossey
(Nyiramachabelli *); DMA candidate, Eastman School of Music.
Jason Mallory, baritone (Pooh-Bah)
Past — University of Louisville: Top (The Tender Land); Kentucky Opera: JFK
(Chasing a Precedent*), Lead Peasant ( Eugene Onegin), Solo Monk (Thais); Uni¬
versity of Southern California: Pinellino/Guccio (Gianni Schicchi). Concert-
University of Southern California: Baritone, Dona Nobis P acem (Vaughan Wil-
liams); Hohenpriester, Matthaus-Passion (Bach). BM, University of Southern
California. Future - Kentucky Opera: Bob ( Nyiramachabelli *); MM, University
of Louisville (May 2006 - student of Daniel Weeks).
Eric McKeever, baritone (Ko-Ko)
Virginia Opera: Rocco (F idelio), Ravinia Festival: Figaro (If barbiere di Siviglia -
excerpts); Kentucky Opera: Morales (Carmen), Count Ceprano (Rigoletto);
Chicago Cultural Center: Maximillian (C andide), Figaro (The Marriage of Figaro);
Northwestern University: Arthur (Slip K not*), Figaro (The Barber of Seville); Lyric
Opera of Chicago's Opera in the Neighborhoods: Alidoro (La Cenerentola),
Figaro (If barbiere di Siviglia); Opera Theatre North (IL): Figaro (The Marriage of
Figaro); Nashville Opera: Dr. Grenvil (LaTraviata); Opera Columbus: Sciarrone
(Tosco), Lord Rochefort (Anna B olena), Wagner (Faust); Dayton Opera: Fiorello/
Sergeant (If barbiere di Siviglia), Marquis D'Obigny (La Traviata), Falke (Die
Fledermaus - Act II concert); Des Moines Metro Opera Apprentice Program:
Title role (Gianni Schicchi).
Sarah Elizabeth Patrick, mezzo-soprano (Pitti-Sing)
Sarah Elizabeth is currently studying vocal performance at the University
of Louisville. Her primary foci have been in the opera and choral
departments. She has enjoyed performing several major works with the
Collegiate Chorale and traveling internationally with the Cardinal Singers.
Miss Patrick’s past roles include Molly Braien in Britten’s Tke Beggar's Opera
(2004), Beth Moss in Copland’s The Tender Land (2005), and a member of the
Kentucky Opera chorus in Tchaikovsky’s Eugene Onegin (2005). She is a
student of Donn Everette Graham.
Brian Tierney, tenor (Nanki-Poo)
Brian Tierney is pursuing his MM in vocal performance through the University
of Louisville's music school. Brian recently moved from Portland, Oregon
where he received his BM from Portland State University in Oregon. He
has been a featured soloist in many productions, such as the Messiah, Elijah,
(chorus), Bach's St. ]ohn Passion (Evangelist), Eugene Onegin, Gianni Schicchi
(Rinnucio), Die Fledermaus (Alfred), and The Impresario (Mr. Angel). Brian is
currently a student of Daniel Weeks.
Nathan Wilson, bass (The Mikado)
Past - University of Louisville Opera Workshop: Figaro (Le none di Figaro -
Act One); Ithaca College Opera: Mr. Kofner (The Consul), Don Alfonso (Cos?
fan tutte), 1st Officer (Dialogues of the Carmelites), and Dr. Falke (Die Fledermaus
- cover). Future - Ahab (Ahab's Wife - Frank Richmond - concert version),
University of Kentucky’s Summer Opera Workshop. MM (in progress), Uni¬
versity of Louisville (student of Donn Everette Graham); BM, cum laude, Ithaca
College (student of Randie Blooding).
denotes a world premiere
Production
Staff
Music Director
Kimcherie Lloyd
Stage Director
Michael Ramach
Stage Managers
Richard Blanton
Steve Miller
Assistant to the Stage Director
Beth Schaeffer
Assistant Conductor
David Jaggie
Costume Design & Coordination Suzanne Stone
Hilda Carr
Lighting Design
Brett Landow
Hair & Makeup
Larry Coe
Becky Miles
Virginia Alexander
Amanda Conover
Prop Mistress
Alice Baldwin
Rehearsal Accompanist
David George
Spotlight Operators
Maggie Baker
Amanda K. Walker
Scenery, costumes and props provided by Kentucky Opera
Additional lyrics for "I’ve Got a Little List” by Dr. Jack Ashworth
Special Thanks
Jan Abbott, Paul Detwiler, Christopher Doane,
Debbie Hawley, Jeff Jarfi, Angela Keene, Josette Miles,
Naomi Oliphant, Heather O'Mara, Kevin Ramach,
Tracy Terry, the Louisville Orchestra, and
THE STAFF OF THE KENTUCKY CENTER AND BOMHARD THEATER
And a very special Thank You to the voice faculty at
the School of Music for their continued support.
School of
music
IMVERSITYof 1OTSVILLE
-
dare to be great
presents
Kevin Arbogast,
alto saxophone
student of John Moore
with
Krista Wallace-Boaz, piano
Student Recital
Friday Evening
April 21, 2006
5:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event offire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonata in C Major
Largo
Allegro
Andante
Allegro assai
Johann Friedrich Fasch
(1688-1758)
ed. Sigurd Rascher
Postcard from Home
Karel Husa
(b. 1921)
Scaramouche
I. Vif
II. Modere
III. Brazileira
PAUSE
Darius Milhaud
(1892-1974)
Sonata for Alto Saxophone and Piano, Op. 29
Andante maestoso
Allegro energico
Robert Muczynski
(b. 1929)
Trial Not by Jury
Christian Gentry
(b. 1978)
Romance
William Grant Still
(1895-1978)
Recitative and Abracadabra (1962)
Clair Leonard
INIVERSHYof IOUISVILLE
- .
dare to be great
presents
Anastasi Fafalios,
bass trombone
student of Brett Shuster
with
Krista Wallace-Boaz, piano
and
Members of the University Trombone Ensemble
Graduate Recital
Friday Evening
April 21, 2006
8:30 p.m.
Margaret Comstock Concert Hall
i fong is not permitted in the School of Music building. In the unlikely event offire or other emergency, please walk to the nearest exit The
lof recording devices and flash photography is strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Allegro Maestoso
Jan Koetsier
(b. 1911)
Vier emste Gesange (Four Serious Songs), Op. 121
I. Denn es gehet dem Menschen wie dem Vieh
(For that which befalleth the sons of men befalleth beasts)
II. Ich wandte mich und sahe an alle
(So I returned, and considered)
III. O Tod, wie bitter bist du
(O Death, how bitter is the remembrance of thee)
IV. Wenn ich mit Menschen- und mit Engelszungen redete
(Though I speak with the tongues of men and angels)
Johannes Brahms
(1833-1897)
Suite for Unaccompanied Tuba Walter S. Hartley
I. Intrada: Alla marcia (b. 1927)
II. Valse: Allegro non troppo
III. Air: Andante
IV. Galop: Presto
INTERMISSION
Concerto for Tuba
I. Adagio
II. Molto allegro
HI. Adagio
The Chief
Raymond Premru
(1934-1998)
John Stevens
(b. 1951)
with Members of the University Trombone Ensemble
David Bretz, Audrey Davis, Sarah Finger, Matt Hubbard, Aaron Stepp, and Matt Yarborough, trombones
Brett Shuster, conductor
This recital is given in partial fulfillment of the requirements for the Master of Music degree.
Allegro Maestoso ^ ^ 0 e ts.
JanKoetsier'sAHegroM^towb^eatfiesrhytiTJnic^ife^dmtensi^tiuou^wut^CcH^osed^mr^^ciformjKoetoffl^ut^^^
*e wo*. Koetsier also incorporates techniques unique to the h„^
winch offer he addin / soIo secHon is included with in the piece without piano accompaniment. In this section
musk"n facets good portion of the lowest register tones written in the piece. Lastly the rhythmic gestures and intervallic,
including an octave) within this work produce a grandiose width to the music and perhaps suggest that
S a glass ita royal loaf. or simply begin to dance. Either way, it seems that enjoyment is on the mind.
Vier ernste Gesange (Four Serious Songs), Op. 121
Johannes Brain,
r mnlPtpd in the Spring of 1896, Vier ernste Gesange (Four Serious Songs) would be Johannes Brahms' last published work durinj
2 ^ V:er ernste Gesange were completed on his 63* and last birthday and, according to Brahms, was "what I haveg
mvilf for mv birthday." Brahms originally wrote this piece for low voice and piano. Centering around a popular composer]
toDic death Brahms borrows scripture from both the New and Old Testaments. Text from Ecclesiastes, Ecclesiasticus, ant
Corinthians'fulfills Brahms' choice of words for the four-movement work. The Vier ernste Gesange is dedicated to Max Klinger.
I Denn es gehet dem Menschen wie dem Vieh I. For that which befalleth the sons of men befalleth beasts
Ecc. 3:19-22
givi
Denn es gehet dem Menshen wie dem Vieh,
wie dies stirbt, so stirbt er auch;
und haben alle einerlei Odem;
und der Mensch hat nichts mehr, denn das Vieh:
denn es ist alles eitel.
Es fahrt alles an einen Ort;
es ist alles von Staub gemacht
und wird wieder zu Staub.
Wer weifi, ob der Geist des Menschen
aufwarts fahre?
und der Odem des Viehes unterwarts unter
die Erde fahre?
Darum sahe ich, dafi nichts bessers ist,
denn dafi der Mensch frohlich sei in seiner Arbeit,
denn das ist sein Teil.
Denn wer will ihn dahin bringen,
dafi er sehe, was nach ihm geschehen wird?
For that which befalleth the sons of men befalleth beasts,
as the one dieth, so dieth the other;
yea, they have all one breath;
so that a man hath no preeminence above a beast:
for all is vanity.
All go unto one place;
all are of the dust
and all turn to dust again.
Who knoweth the spirit of man
that goeth upward,
and the spirit of the beast
that goeth downward to the earth?
Wherefore I perceive that there is nothing better,
than that a man should rejoice in his own works;
for that is his portion:
for who shall bring him to see
what shall be after him?
Brahms begins this first movement with the piano stating a rich, dark, opening melody in D minor. The solo then follows withtl
same line. This opening phrase is from one of Brahms' earlier, and to a point, lesser-known works titled Begrabnisgesang, which
a funeral hymn, originally written for chorus, wind instruments, and timpani. Brahms composed his Begrabnisgesang in 1®
thirty-eight years before the Vier ernste Gesange. This first movement of the Vier ernste Gesange (originally placed second by Bralii
in the cycle) begins in common time, marked andante, and then moves into 3 A allegro setting. The text from Ecclesiates rolls off
the tongue explaining that we do not know who enters heaven and who enters hell for we, as humans, are equal to animals./
have been made from the dust, and all will return to the dust. Through all of the successful accomplishments of man and the pn
which follows, what will become his afterlife?
II. Ich wandte mich und sahe an alle
Ich wandte mich und sahe an alle,
die Unrecht leiden unter der Sonne;
und siehe, da waren Tranen derer,
die Unrecht litten und hatten keinen Troster;
und die inhnen Unrecht taten, waren zu machtig,
dafi sie keinen Troster haben konnten.
Da lobte ich die Toten,
die schon gestorben waren,
mehr als die Lebendigen,
II. So I returned, and considered
Ecc. 4:1-3
So I returned, and considered
all the oppressions that are done under the sun:
and behold the tears of such
as were oppressed, and they had no comforter;
and on the side of their oppressors there was power;
but they had no comforter.
Wherefore I praised the dead
which are already dead
more than the living
, ien och das Leben hatten;
un d der noch nicht ist, ist besser als alle beide,
Jnd des Bosen nicht inne wird,
if das unter der Sonne gescheiht.
» » * l uxv.
Yea, better is he than both they, which hath not yet been,
who hath not seen the evil work
that is done under the sun.
;! placed in the key of G minor, this second movement is marked andante and is set in a % time signature. This movement receives a
1 delicate interpretation much the opposite of the first; however, the mood and subject are no less melancholy. Each phrase cries
j through misery and sadness. This text from Ecclesiastes explains that no comfort is received by the oppressed nor the oppressors
: arp nraised more that the livine becausp dpaf-h h as alrpaHv hppn ror-oi-worl _. _• i i
through misery anu bdunc. ±m=> lcm uum cLuesiasres explains mat no comtort is received by the oppressed nor the oppressors
'The dead are praised more that the living because death has already been received. The living are not praised because they still
‘withstand everyday strife and pain. In all actuality, the most admired are those who have not yet been bom at all. For they have not
,„ 0 n the horror and utter despair that complements life on earth. 3
Ill. 0 Tod, wie bitter bist du
III. O death, how bitter is the rememberance of thee
Ecclus. 41:1-2
OTod, wie bitter bist du,
wenn an dich gedenket ein Mensch,
der gute Tage und genug hat
und ohne Sorge lebet;
und dem es wohl geht in alien Dingen
und noch wohl essen mag!
0 Tod, wie bitter bist du.
0 tod, wie wohl tust du dem Diirftigen,
der da schwach und alt ist,
der in alien Sorgen steckt
und nichts Bessers zu hoffen,
noch zu erwarten hat!
0 Tod, wie wohl tust du.
O death, how bitter is the remembrance of thee
to a man that is at peace in his possessions,
unto the man that hath nothing to distract him,
and hath prosperity in all things,
and that still hath strength
to receive meat!
O death, how bitter is the remembrance of thee.
O death, how acceptable is thy sentence unto a man
that is needy and that faileth in strength,
that is in extreme old age, and is distracted in all things,
and that looks for no better lot
nor waiteth on better days!
O death, how acceptable is thy sentence.
Brahms sets this text taken from the Apocryphal book of Ecclesiasticus in the key of E minor with a 3/2 time and the marking "alia
breve." Finally, a feeling or vision of peace is drawing near but not before some additional words of cruel truth have been stated.
The biblical text explains that for a man of great success, riches, family life, and happiness, death seems unfair and bitter. Brahms
masterfully sets this section of the text to descending minor thirds, propelling angst and misery. The music offers a lamentation to
the sad inevitability of an end to the pleasures and happiness that was once cherished. However, the second half of the movement
offers both a different point of view and set of musical gestures that complement the change. Death becomes inviting. Death
releases one who has pain. Weakness and solitude are an everyday part of this person's life. Included in the suffering is also
sickness, poverty, and old age. Brahms now changes the descending minor thirds (O Tod) into ascending major sixths. A harmonic
joyfulness encompasses the text with major sounds which follow the depressing initial views. We hear "happier" music being
made, but, nevertheless, are still engulfed within the subject of death.
IV. Wenn ich mit Menschen- und mit Engelszungen redete
Wenn ich mit Menschen- und mit
Engelszungen redete
und hatte der Liebe nicht,
so war ich ein tonend Erz
Oder eine klingende Schelle.
Und wenn ich weissagen konnte
und wiifite alle Geheimnisse
und alle Erkenntnifi
und hatte alien Glauben, also,
dafi ich Berge versetzte,
und hatte der Lieb nicht,
so ware ich nichts.
Und wenn ich alle meine Habe den Armen gabe,
und liefie meinen Leib brennen
Ur >d hatte der Liebe nicht,
50 ware mir's nichts niitze.
* r sehen jetzt durch einen Spiegel
Jeinemdunkeln Worte;
anri aber von Angesicht zu Angesichte.
e t erkenne ich's stiickweise.
IV. Though I speak with the tongues of men and angels
I Cor. 13:1-3,12-13
Though I speak with the tongues of men
and angels,
and have not charity,
I am become as sounding brass
or a tinkling cymbal.
And though I have the gift of prophecy,
and understand all mysteries,
and all knowledge;
and though I have all faith,
so that I could remove mountains,
and have not charity,
I am nothing.
And though I bestow all my goods to feed the poor,
and though I give my body to be burned,
and have not charity,
it profiteth me nothing.
For now we see through a glass,
darkly;
but then face to face:
now I know in part;
dann aber werd ich's erkennen,
gleichwie ich erkennet bin.
Nun aber bleibet Glaube, Hoffnung, Liebe,
diese drei;
aber die Liebe ist die groEests unter ihnen.
but then I shall know
even as also I am known.
And now abideth faith, hope, charity,
these three:
but the greatest of these is charity.
This movement the last of the four, has received mixed views and opinions from scholars. Some say that this movement is the W t
impressive and moving. Others say that it plainly should have been left out of the cycle. Still others believe this to be the crownh,
movement in which the first rays of life are breathed. It is explained in I Corinthians that it does not matter what is possessed
someone unless love and charity are within. No riches, prophetic visions, or knowledge can amount to anything good if u,;
inclusion of charity is not present.
Brahms sets this movement in the key of E-flat (changing to B). The time signature is common and then transforms into
text is one that holds a personal account for Brahms. A sermon was given by a preacher at the funeral of Brahms' dear friend Frau
v. Herzogenberg. Within the sermon, the preacher used these verses from I Corinthians which Brahms utilizes in the fourth movemem
of the Vieremste Gesdnge. The emotions felt and memories remembered from this time perhaps influenced Brahms while composing
this movement.
Shortly before the Vier emste Gesdnge were composed, Brahms made a trip to visit Clara Schumann. She was quite ill and apparently
not expected to recover. During these last few days of her life, Brahms composed this work. After he finished the piece, she soon
passed on. It is not for certain that the death of Clara Schumann has any relation to the Vier emste Gesdnge ; however, this sad evert
is just one of a few dark moments that were time-related to the beginning and completion of the Vier emste Gesdnge.
Suite for Unaccompanied Tuba Walter S. Hartley
Walter Hartley has composed over two hundred works for brass instrumentalists, both solo and ensemble. His Suitejg
Unaccompanied Tuba consists of four movements, each different in tempo and form. This suite contains a march, waltz, air, and
galop. The style of each will be heard through the distinctive rhythmic ideas that Hartley incorporates in his Suite. According It
Hartley, "The four dance-like movements are adequately described by their titles; each one suggests an imaginary accompaniment'
While on the faculty of the Interlochen Music Camp, Hartley composed this Suite during the summer of 1962 for tubist Re
Conner. Both gentlemen were teaching at Interlochen during this time. Soon after the camp's end, Conner premiered this workai
a composers'concert. In attendance was retired New York music critic Deems Taylor. According to Hartley, Taylor pronouncedhii
Suite "a good piece!" Upon a visit to Interlochen that summer, Vincent Persichetti made aware to Hartley that his Serenade No. 12,
also for unaccompanied tuba, had just been finished. Through his position as editor of Elkan-Vogel (now part of Presser), Persichetti
agreed to publish Hartley's Suite.
The first of the movements is titled Intrada: Alla marcia (introduction: march). Dynamic contrast offers depth throughout the shoil
march. The dynamics range from forte to subito piano. The march is a weighty one with long quarter notes and echoed responses
The next movement is titled Valse: Allegro non troppo (waltz). This movement is set in a % time signature. A waltz relies heavily or
the meter and beat emphasis. The first downbeat of each measure must be fully emphasized in order to create the dance-lib
feeling of a waltz. The third movement, titled Air: Andante, is the slowest and most legato of the four movements. Hartley mark:
dolce (sweetly) at the beginning of the movement to perhaps aid the performer in producing a movement diverse from theotha
three. Also, this movement contains the least melodic repetition; however, the rhythmic ideas tend to remain similar. The final o
the four movements is titled Galop: Presto. This movement is quick and light with a touch of chromaticism. The first melody i:
stated twice before moving into a B-section melody. This melody contrasts from the first because it is written in a legato manna
rather than cleanly articulated and somewhat detached. The original melody returns with slight variation and proceeds to theenf
which is coupled with fortissimo dynamics and accented articulation.
Concerto for Tuba
Raymond Fremn
Hte i^hnpf r iT rU ^ C °" C ^ 0/0r ma iS 3 W ° rk dedicated to his Phillip Jones Brass Ensemble companion and longtime friend,
P iec * w as commissioned by T.U.B.A. (Tubist Universal Brotherhood Association) in memory of Mr. Fletc
the late Inh'Hpi i^ 111 s P rin &°^991/92, Premru's Concerto for Twha incorporates characteristic and reminiscent thoug 1
the late John Fletcher and his playing through hidden musical gestures and stomping marches.
are auite 3S m ° re °r an e . xtended composition due to many of the suggested tempo markings, a number of w
musical idea to the r f 6 ltlol J of various musical phrases. This repetition challenges the performer to always offer a
ZTe spans f £ * ISf°T "T* blarul reoccur ™. Concerto for Tuba also tests the endurance of the performer.
pairs them with a fuU pallette of ^tpoVStdcolors. ab ° V<! ‘ heS ‘ aff ' PremIU a ‘ S ° inCor P orates mul,i P Ie - « ide tat€rvall ‘ C ' eaP
first movement, — ui a solemn meiouy mat sits on an ostmato piano accompaniment. The
melody gro ws with intensity and, at times, dynamics. The melody reaches a climax with forte dynamics, then resides. At this time
Premru indicates "Allegro ma non troppo" and offers a delicate march rhythm. Afterwards follows a plethora of heavier marches
syncopated rhythms, chromatic runs, and abrupt halts that segue into both new and reoccurring material. Tempo fluctuation is a
L e factor as well as dynamics.
second movement is marked Molto allegro and provides quick, articulated passages and large intervallic leaps both downwards
jnd upwards. Light in some instances, heavy in others, this movement contains passages to optionally be taken down the octave,
jnd includes abrupt meter changes. Before the renewal of the first melody, hemiolas can be heard as well as call and response
techniques. The final statement of the opening theme is extended at the end of the movement. This extension adds extra intensity
to help support a strong finish.
In the third movement, titled Adagio, Premru wrote a two and one half page soliloquy for the soloist. Within this soliloquy one can
hear some of the characteristic musical qualities that were a common nature in John Fletcher's playing as well as in some of the
other members of the Phillip Jones Brass Ensemble. Often the group would play for large audiences. Sometimes nerves became a
factor. While offstage prior to the beginning of the performance, John Fletcher would sometimes begin playing a marching bass
line to lighten the mood. He would often walk around and offer the musical line to other members of the ensemble. The other
members would then add their musical contribution to the tuba line and before it was all said and done, a romp-roaring march was
in full effect. If one listens to the soliloquy closely, a distinctive solo marching bass line can be heard. There are many references
placed throughout this entire solo. Many which may be well known to the general public and some perhaps that are private which
only close friends may recognize.
The piano eventually returns, supporting the lamenting, yet sweet melodic lines that continue to speak of a strong friendship once
had but forever cherished. Similar to Claude Debussy's The Sunken Cathedral for piano, the ending of this final movement rises to
aclimactic peak and then unrolls through soft dynamics and easing tempos until the music sweetly ends leaving memories of John
Fletcher as a magnificent musician and a beloved friend.
The Chief John Stevens
The Chief is a solo work written for tuba or bass trombone and trombone choir in 1980 by noted composer and Eastman School of
Music graduate, John Stevens. This work is dedicated to Emory Remington, one of the most well-known and respected teachers of
lie trombone. Emory Remington was professor of trombone studies and director of the trombone choir at the Eastman School of
Music. He taught at Eastman for nearly fifty years and was known to many as "The Chief." Current professor of trombone, John
Marcellus, requested that Mr. Stevens compose a piece to be played for the Remington Room dedication. Bass trombonist Mark
Lusk, accompanied by the Eastman Trombone Choir, premiered this work under the direction of Dr. John Marcellus.
Ihe beginning of the piece contains small cadenzas and legato phrasing which almost mimic the inspirational words that Remington
iffered to so many of his pupils. Mr. Remington was taken very seriously by his students; however, this did not alter the fact that
le possessed a warm heart. One will hear inflections of jazz that are placed within the work accordingly. This is a symbol of life
ind individuality. Remington took each student seriously and used multiple approaches in his teaching. In addition to hearing
itraight, classical interpretation, one will hear glissandi, note fall-offs, ghosting, and other jazz idioms.
Mter a number of cadenzas and small choral interludes by the trombone choir accompaniment, the work evolves into a faster-
iaced B section. This section varies in dynamic contrast and includes tempo fluctuations. The next section (C section) contains
nusic lively in spirit but slower in tempo. Here, heavy accents are employed and powerful note falls can be heard. This section
ontrasts from any other in pacing and content. The music then returns to the B section material. Finally, remnants of the introduction
etum with additional cadenzas and choral accompaniments. The piece tapers off to a soft dynamic and returns back to the
riginal tempo. An invitation of peace is proclaimed with the final tonic chord.
School of
music
IMVERSITYof IOUISVILLE.
Friday, April 21, 2006
3:30 p.m.
Margaret Comstock Concert Hall
dare to be great
Grawemeyer Lecture
by Gyorgy Kurtag
Gyorgy Kurtag
2006 Grawemeyer Award in Music Composition
"...concertante..., op. 42" for violin, viola, and orchestra
Bom in 1926 to Hungarian parents, Gyorgy Kurtag has had a long
and distinguished career in music. He began piano lessons with
Magda Kardos in 1940, also studying composition with Max
Eisikovits in Timisoara, Romania. In 1946, he moved to Budapest
to enroll in the Liszt Academy of Music, where he studied
composition under Sandor Veress and Ferenc Farkas, piano under
Pal Kadosa and chamber music under Leo Weiner. In the late 1950s,
he went to Paris to study with Marianne Stein and attended the
courses of Messiaen and Milhaud, a move that he later said made
him rethink his ideas on composition. His first work after returning
to Budapest was a string quartet he called "Opus 1." Over the next
28 years, Kurtag established a solid reputation as a composer and
professor of chamber music. He worked with the National
Philharmonia in Budapest first as a repetiteur and in 1968 became
a professor of chamber music at the Academy of Music, a post he
held until 1986. His first internationally renowned work, "Messages
of the Late Miss R.V. Troussova, Op. 17" for soprano and chamber
ensemble, was premiered in Paris in 1981. As his international career
evolved, he received commissions and was elected to various music
academies in Germany, France and the United States. In the early
1990s, Kurtag began to work outside Hungary more frequently. He
served as a composer-in-residence with the Berlin Philharmonic
and the Vienna Konzerthaus and worked with other organizations
in the Netherlands and France. He has received many honors in
music, including the Ernst Von Siemens Prize and the Kossuth Prize
from the Hungarian government for his life's work.
School of
music
IMVERSITY of IDUISVILLE,
dare to be great
presents
Ryan McCaslin,
trumpet
student of Michael Tunnell
with
Krista Wallace-Boaz, piano
Graduate Recital
Friday Evening
April 21, 2006
7:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Air de Trompette
Georg Philipp Telemann
(1681-1767)
Sonata for Trumpet and Piano
Mit Kraft
Massig bewegt
Trauermusik
Paul Hindemith
(1895-1963)
Echanges (for solo brass instrument)
Vinko Globokar
(b. 1973)
INTERMISSION
Trumpet Concerto in E-flat Johann Nepomuk Hummel
I. Allegro con spirito (1778-1837)
II. Andante
III. Rondo
Someone to Watch Over Me George Gershwin
(1898-1937)
arr. Joseph Turrin
This recital is given in partial fulfillment of the requirements
for the Master of Music degree.
PROGRAM NOTES
Georg Philipp Telemann (1681-1767) was the most pro¬
lific composer of his time and as a German citizen was regarded as
its leading composer of the first half of the 18 th century. He is looked
at as an important connection between the late Baroque and early
Classical styles. Telemann is known to have written more than Bach
and Handel combined, including 50 operas, 23 yearly cycles of
cantatas, masses, motets, psalms, oratorios, secular cantatas, nearly
1000 orchestral suites, 46 passions, and numerous other works.
Air de trompette is a short work for clarino trumpet, which
was a trumpet used to play higher parts in Baroque music, arranged
and edited by Edward H. Tarr as one of his artist series. Edward Tarr
explains the origin of this work in his liner notes of the score:
In 1728, together with J.V. Gomer, he founded the
first German musical periodical, Der getreue Musik-
Meister. In this journal all sorts of musical composi¬
tions were published... It is from this publication
that the charming, concise Air de trompette is taken.
The short piece is only a minute long; however, the music
is the embodiment of the trumpet, especially during the early
Baroque period. Its Italian ornate melody is beautifully combined
with French ornamentation and grace. The original figured bass
part is realized for continuo by Edward Tarr.
Paul Hindemith (1895-1963) was bom in Frankfurt, Ger¬
many and was an accomplished composer, theorist, teacher, violist,
and conductor. He was an important composer whose music was
influenced during the interwar years from World War I-I3. As a
teacher, Hindemith made his biggest impact when he was invited
to teach at Yale in 1940. His presence in the United States not only
gave him the opportunities to compose but also to have his works
performed in the U.S. more often. His death in 1963 in Frankfurt
was unexpected and was considered a major loss in the music
world.
Hindemith completed his Sonata for Trumpet and Piano in
Switzerland on November 25, 1939, three months after the out¬
break of World War II. The work is in three movements. The first
(Mit Kraft - With Strength) is brooding and restless, punctuated
with dramatic outbursts from the piano. The second, (Mdssig
bewegt - Moving Moderately, Lively) shows the character of a
march, but with a pronounced undercurrent of tension. The final
movement, as its heading indicates ( Trauermusik - Funeral March—
Choral), is a funeral piece, eventually leading to a chorale expressing
grieving resignation. With its halting rhythms, the chorale ( Alle
Menschen mussen sterbe - All men must die) by Ahle is reminiscent
of similar movements in Hindemith's Mathis der Maler symphony
and his Trauermusik for viola and string orchestra, both composed
in the years just before this sonata. Hindemith's Sonata for Trumpet
and Piano, a somber response to the war, has become an important
work in trumpet repertoire.
Vinko Globokar (b. 1934) is one of today's most daring and
alluring composers and performers to enter the contemporary
stage. He is a highly accomplished trombone soloist whose compo¬
sitions were seemingly perfect in the 1960's, a period in which
Varese and others alike experimented in new acoustic possibilities
in their compositions. He studied composition privately with Rene
Leibowitz and Luciano Berio. In the words of Werner Kluppelholz,
a writer for the dictionary Contemporary Composers, in regards to
Globokar's compositional technique:
For instance, in the course of performance a clarinet
is broken down into its constituent sections, turning
into a child's whistle and an alpine horn with a
trumpet mouthpiece. A wind player is instructed to
play so continuously and without pausing for breath
as to give the effect of strings.
In Globokar's Echanges, written for unspecified brass soloist, the
work adheres to similar techniques mentioned above. Written in
1973 it was first performed in La Rochelle, France on April 20,1973.
It opens with a short page of performance directions, which calls for
the soloist to play on the instrument with a plunger, metal mute,
removed valve slide, metal mouthpiece, double reed, metal whistle,
and single clarinet reed. Also, the work calls for a small metal
cymbal to be played simultaneously with the modified brass
instrument. The score is in graphic notion, which allows for the
performer's creative and musical control of performing decisions-
there are no indications for pulse and meter. There are triangles]
squares, dots, squiggly lines, and various symbols in place of the
standard musical notion normally seen in music. The use of all the
"add- on's" shows Globokar's continued interest in exploring the
instrument through other means, whether that be through break¬
ing down the instrument or replacing the amplifier (brass mouth¬
piece) with a reed mouthpiece. Echanges is a musical experiment in
modem improvisation and sound production; and it opens the
door for these techniques to be used in more brass solo composi¬
tions.
Johann Nepomuk Hummel (1778-1837) was born in
Pressburg [now Bratislava] and died in Weimar, Germany. An
Austrian pianist, composer, teacher, and conductor, he was known
in his own time but for his talent as a virtuoso pianist and as a
composer of nearly everything except symphonies, no doubt due
to the rivalry with Beethoven. However, Hummel left us with an
enormous amount of solo piano music, works for piano and
orchestra, many songs, choral works, ballet scores, and operas, but
few of his works have achieved the popularity of his sole trumpet
concerto.
The Trumpet Concerto in E-flat Major was composed in
December 1803 for Viennese court orchestra trumpet virtuoso
Anton Weidinger, and the first performance was given on January
1, 1804, in Vienna as "musique de table." Hummel used motives
from Cherubini's opera Les Deux Journees which can be heard in the
third movement of the Trumpet Concerto. The concerto is in three
movements, governed by the traditions of the classical style Hummel
learned at Mozart's hand. The opening Allegro of Hummel s
Trumpet Concerto is cast in the traditional sonata-concerto form.
Its orchestral introduction contains both of the movement's impor¬
tant themes: an octave-leap motive inspired by the fanfare proclivi¬
ties of the solo instrument, and a pert complementary phrase in
dotted rhythms initiated by the strings after a brief pause. The
trumpet appropriates and elaborates these melodies as the move¬
ment progresses through a second exposition, a compact develop¬
ment section, and a recapitulation. (Hummel, rather extraordinar-
ily, allowed for no cadenzas in this concerto.) The Andante is in the
nature of an expressive operatic aria, beginning in a somber minor
mode before turning to brighter feelings in its second portion. The
movement is remarkable for its chromatic writing, employing
notes which would have been impossible to produce on a natural
trumpet but which were newly available on Weidinger's keyed
instrument. The finale is a bounding rondo in which Hummel
further exploited the low register scales and chromatic inflections
of the keyed trumpet. The movement is merry closing music, the
sort of thing the Germans call a Kehraus, a "sweeping-out" — the
last, lively dance of the evening.
George Gershwin's (1898-1937) works, which range from
large scale concert works to short vocal arrangements, are consid¬
ered to be ground breaking in regards to the crossover of popular
and jazz style into classical composition. He was also an accom¬
plished pianist and conductor. He began his fruitful career as a
jingle composer during the Tin Pan Alley era; by the time he turned
the age of 20 he was a famed Broadway show composer, after that
he grew to be a musical legend with such famed works as "An
American in Paris," "Rhapsody in Blue," "Porgy and Bess," "Con¬
certo in F," and numerous hit Broadway shows.
Someone to Watch Over Me was originally composed by
George Gershwin as part of one of the Broadway show hits Oh, Kay!
in 1926. Joseph Turrin wonderfully arranged this beautiful ballad
for trumpet and piano in 1997 for New York Philharmonic's
principal trumpeter, and his good friend, Phil Smith. The piano
introduction bestows a sense of security and warmth that allows the
trumpet to play onto the piano's beautiful accompaniment. Its
simple yet soaring melodic line in the trumpet exemplifies the
beauty of Gershwin's writing and seems so natural for trumpet and
piano. As at the start, the arrangement ends with solo piano, and is
a distinguished part of Gershwin's Broadway song collection.
music
IMVERSIlYof LOUISVILLE.
dare to be great
presents
Autumn Pate, horn
student of Bruce Heim
with
Deborah Dierks, piano
and the
University Horn Quartet
Graduate Recital
Saturday Afternoon
April 22, 2006
2:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Concerto for Horn and Piano Reinhold Gliere
Allegro (1874-1956)
Andante
Moderator Allegro vivace
INTERMISSION
Concertino for Horn and Piano Thom Hutcheson
(?- 2000 )
Sonata No. 3 Alec Wilder
III. With a solid beat and a jazz feeling (1907-1980)
IV. Tempo di Valse - Joyously
Suite for Four Horns in F Eugene Bozza
Prelude (1905-1991)
Fanfare for Bares Kerry Turner
(b. 1960)
University Horn Quartet
Autumn Pate, Kate Reyman,
Lindsay Pummell and Dominic Rotella, horns
This recital is given in partial fulfillment of the requirements
for the Master of Music degree.
PROGRAM NOTES
Concerto for Horn and Orchestra, Op. 91 Reinhold Gliere
Reinhold Moritzevich Gliere is, surprisingly, a twentieth-century com¬
poser. Born the same year as the innovative Schoenberg (1875), Gliere is
often grouped with the nineteenth-century Romantic composers instead
of his contemporaries. Gliere held true to the compositional techniques of
his teachers, preserving the Romantic idiom of Rimsky-Korsakov and
Tchaikovsky. His steadfastness to traditional practices spared him from
the indictments for decadence that Shostakovich and Prokofiev received
from the Committee of the Communist Party, but this perhaps cost him
any lasting fame.
He was most famous in Soviet Russia for his symphonic works and ballets,
but he holds the distinction of composing some of the first concerti for harp
and orchestra (Op 74), coloratura soprano (Op 82), cello (Op 87), and horn
(Op 91) to emerge from the Soviet Union.
Written in 1951, the Concerto for Horn and Orchestra, Op. 91 was the last
concerto for a solo instrument that Gliere ever completed. It was written
for and dedicated to virtuoso homist Valery Polekh, whose original
cadenza is being performed this afternoon. The piece is unique in that
Gliere specifically wrote it to match Polekh's individual abilities, combin¬
ing Gliere's trademark expressive melodies with the technical mastery of
Polekh's performances.
The concerto is modeled closely to Tchaikovsky's Concerto for Violin and
Orchestra in D Major, Op. 35. The forms of each movement are adapted from
Tchaikovsky's work as is Gliere's use of short thematic ideas lengthened
by repetitive rhythmic figures. This piece, like the violin concerto, contains
many extended passages of continual playing, a feat that is easily accom¬
plished on a violin but that demands great mastery of the horn. It is
interesting to note, however, that despite the string-like flourishes and
effects, Gliere took great care to blend the sound color of the horn with the
timbre of the orchestra, thus the horn is rarely scored in its extreme high
register.
The first movement is in a traditional sonata form with an introduction like
that of the Tchaikovsky. This movement is typical of Gliere's romantic
compositional style incorporating a noble fanfare for the first theme and
a sentimental melody for the second. The second movement, also in sonata
form, begins sweetly, as a love song, but quickly changes to an agitated
gypsy air evoking full bow fiddle strokes. This movement ends with one
of the few moments that Gliere writes the horn into its extreme high
register, ending on a high B (stopped) meant to imitate the effect of
harmonics on the violin.
The third movement is a rousing dance in a modified sonata form that does
not stay in one key very long. Much like the first movement the horn's first
theme is exciting and quick while the second theme is a sweeping, sustained
line. The development of the movement is introduced by the slow, piano
theme of the introduction then focuses on the quick first theme flying
through keys in a stepwise motion (Am, Em, Fm, G-flat m, A-flat m, and
ending chromatically on D-flat m). The coda of the movement contains no
reference to any previous theme in the concerto, but this vivace section
gave Polekh ample opportunity to display his immaculate, virtuosic
technique.
Concertino for Horn and Piano Thom Hutcheson
The Concertino for horn and piano is an interesting little work that seems
fixated on several intervals. The piano and horn communicate through
three themes that Hutcheson relays between the two instruments. The
introduction displays the first theme characterized by the filled-in ascend¬
ing fifth. Although only three measures long, the motives of this introduc¬
tion resurface in the first and second themes of exposition.
The first theme is also characterized by the filled-in fifth, this time at a faster
tempo and the second more lyrical theme seems to be a variation of the first
in augmentation. The piano responds to many of the horn's lyrical melodies
with a tense, punctuated sixteenth-note figure that the horn takes over in
the development.
The quick runs that the piano and horn exchange stress tritones, dimin¬
ished thirds, and minor thirds, making the piece highly chromatic though
not actually atonal.
On a personal note, it is an honor to perform Thom Hutcheson's Concertino
this afternoon. Dr. Hutcheson was the professor of horn at Middle Tennes¬
see State University when I first auditioned for the school in 1998. Besides
acting as a mentor for the horn students at MTSU, "Hutch," as he was
affectionately called, taught theory and composition until his death in the
fall of 2000. Dr. Hutcheson's works, although not widely known, are very
dear to the alumni of MTSU and the memories of his gentle, fatherly
presence remain with all who met him.
Sonata No. 3 for Horn and Piano Alec Wilder
While the three sonatas Alec Wilder wrote for horn and piano are now an
accepted part of the repertoire for horn, Wilder's 'classical' music was not
always welcomed. Born in 1907, Wilder received very little training in
music composition, but made a name for himself writing popular songs in
the 1930s. Wilder wrote over forty pop songs and while only three became
hits, his songs were performed by artists such as Frank Sinatra, Cab
Calloway, and Bing Crosby. In 1939 he wrote a series of octets for wind
instruments and rhythm section that combined the melodies and swing
rhythms of popular songs with classical forms. This new genre of music
was at first rejected by both jazz artists and classical critics alike, each
complaining of the other's influence on the works.
Performers, on the other hand, loved playing Wilder's pieces and in the late
'50s and early' 60s he wrote a series of three horn sonatas for his friend John
Barrows. The Sonata No. 3 for horn and piano was written as a wedding
gift for John and his wife Tait around 1969. Wilder referred to it as his "Good
Times" sonata and said the piece was about "nobody lecturing anybody,
and it's supposed to be fun."
The third movement is the jazziest of the four incorporating three distinct
motives reminiscent of a 1920s jazz motive in a theme and variations form.
After all three themes are heard in the first twenty measures of the piece,
the horn and piano take turns manipulating the motivic elements of each
theme invoking an almost improvisatory quality to the work.
The final movement is a flowing waltz in arch form (ABCBA) that is
technically demanding for the player but allows the horn to croon a lilting
melody that literally ends on a high note
Suite for Four Horns in F Eugene Bozza
Eugene Bozza's Suite for four horns in F quickly became one of the staples
of the horn quartet literature. Written in 1970, the quartet exhibits Bozza's
typical impressionistic compositional style incorporating parallelism
and modal writing. Unlike the quartets of Hindemith and Tippett, this
quartet includes programmatic elements by way of movement titles.
Bozza is always challenging for an ensemble, requiring his performers to
exhibit great sensitivity to pulse and to anticipate modal and mediant
changes, but the end result is that of a composer who knows how to exploit,
according to the New Grove Dictionary of Music and Musicians, warmth of tone
color, fluency of melody, and elegance of structure.
The Prelude brightly opens the piece much as a sunrise opens the day. It
begins with the three low horns accompanying a sweet melody in the solo
horn, but the listener is quickly transported to Bozza's realm of parallelism
as the four voices of the quartet move independently but seem to sound as
one. The four horns muted, Bozza builds tension between the voices until,
unmuted, the melody halts on thick, fortissimo chords then fades, sadly,
away.
Fanfare for Barcs
Kerry Turner
Being an accomplished horn player is not enough for Kerry Turner who,
among performing with the award-winning American Horn Quartet, is a
decorated composer. The Fanfare for Barcs performed today was written in
celebration of the American Horn Quartet winning the Phillip Jones
International Brass Chamber Music Competition in Barcs, Hungary in
1989. Among his works for brass ensembles and mixed chamber groups.
Turner has greatly expanded the modern repertoire for the horn quartet
by introducing pieces that are as challenging for the performers as they are
engaging for the audience.
Fanfare for Barcs explores a melody in 7/4 time introduced by each of the four
horns in the opening. Exhilarating and robust, the theme is presented in
multiple forms and lengths throughout the piece, but the crowning achieve¬
ment of Turner's work is his use of the homogenous voices to create an
almost organ-like timbre. The tight, bright harmonies and thick sonorities
beautifully display the horn's character while the quick rhythmic inter¬
play between the voices and grandiose motives leave the player and
listener energized.
School of •
music
IMVERSTIYtf L OUISVILLE
dare to be great
Preparatory Department
presents
Saturday, April 22,2006 Violin Studio Recital
2:00 p.m. Students o/Franzeli Sharp
Malcolm Bird Recital Hall Karen Griffin, accompanist
Rhythms
Kelly Jackson
Bile 'em Cabbages Down
Rio Cross
Fiddle Tune
May Song/Twinkle Duet
Folk Song
Ellen Martin & Victoria Jackson
Go Tell Aunt Rhody
Victoria Jackson
Folk Song
Bile 'em Cabbages Down
Chloe Erwin
Fiddle Tune
May Song/Twinkle Duet
Folk Song
Tristen & Tess Krebs
French Folk Song
Tristen Krebs
Folk Song
Perpetual Motion
Evan Striby
S. Suzuki (1898-1998)
Musette
Forest Smock
J. S. Bach (1685-1750)
Waltz
Hallie Striby
J. Brahms (1833-1897)
Two Grenadiers
Tessa McShane
R. Schumann (1810-1856)
Gavotte
Steven Miller
J. B. Lully (1632-1687)
Minuet
Samuel Jackson
L. Boccherini (1743-1805)
Gavotte in G Minor
Ariel Hawman
J. S. Bach
Humoresque
Pratik Bhade
A. Dvorak (1841-1904)
Gavotte
Kevin Behan
J. Becker (1833-1884)
Concerto No. 2
Third movement
Emily Griffin
F. Seitz (1848-1918)
Concerto No. 5
First movement
Ranjith Selvaraj
F. Seitz
Concerto in A Minor
Third movement
Carrie Brandt
A. Vivaldi (1678-1741)
Concerto in D Minor, Op. 3, No. 11
First movement
Norrbottensschottis
Silkesvalsen
Swallowtail Jig
A. Vivaldi
Swedish Folk Song
Swedish Waltz
Irish Jig
Lily Brandt Lyons & Carrie Lyons Brandt
School of
music
IMVERSITYof I QUISVILLE ,
dare to be great
presents
Kentucky Ambassadors of Music Day
University
Collegiate Chorale,
Cardinal Singers
and
Wind Symphony
Kent Hatteberg, director
Frederick Speck, director
Sunday Evening
April 23, 2006
6:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
University Collegiate Chorale
University Cardinal Singers
Please see separate program for program selections,
texts, translations, and ensemble personnel.
INTERMISSION
University Wind Symphony
Festive Overture (1955) Dmitri Shostakovich (1906-1975)
trans. Donald Hunsberger
Celebrating the 100th anniversary of the birth of Dmitri Shostakovich
Suite Frangaise (1944) Darius Milhaud (1892-1974)
1. Normandie
2. Bretagne
3. lie de France
4. Alsace-Lorraine
5. Provence
Savannah River Holiday (1953/1973)
Ron Nelson (b. 1929)
University Wind Symphony
Frederick Speck, director
Piccolo
Tyra Blasher+
Louisville
Flutes
Amanda Taylor+ Benton
Katie Fondrisi* New Albany, IN
Penelope Quesada*Lima, peru
Tiffany Wilson Ashland
Oboes
Gretchen Reiter+
Wendy Frazee
Crescent Springs
Franklin, OH
Clarinets
Noriko Taka+*
Amber Richeson
Michelle Linder
Sharon Edmonds
Heather Stokes
Amanda Wright
Chris Phillips
Hiroshima, japan
Owensboro
Cincinnati, OH
Louisville
Louisville
Alexandria
Milford, OH
Bass Clarinet
Brad Baumgardner*
Nashville, TN
Bassoons
Carrie Baxter+*
Erica Jones
Fredonia, NY
Ft. Eric, Ont., Canada
Alto Saxophones
Kevin Arbogast+ Bowling Green
Jennifer Hoffmann Louisville
Tenor Saxophone
Tommy Zinninger Louisville
Baritone Saxophone
Daniel Reams Cecilia
Trumpets
Ryan Nottingham+
Matt Janssen*
Michael Swope*
Ryan McCaslin*
Melissa McDaniel*
Daniel Whaley*
Louisville
Watseka, IL
Connersville, IN
Babylon, NY
Collierville, TN
Knoxville, TN
Trombones
Audrey Davis+
Sarah Finger
Aaron Stepp
Louisville
Anderson, IN
Glasgow
Bass Trombones
A nastasi Fafalios*
Belle Vernon, PA
Euphoniums
Daniel Stull+
Matt Byrum
Sarah Danyi*
Payneville
Louisville
Oregon, OH
Tubas
Aaron Gaither+
Adam Yankowy
Louisville
Louisville
Percussion
Matt Greenwood+
Whitney Winstead
Andrew Powell
Phil Turner
Floyds Knobs, IN
Louisville
Benton
New Albany, IN
Double Bass
Nick Wooldridge
Louisville
Piano
Sarah Danyi*
Oregon, OH
Horns
Kate Reyman+ Decatur, IL
Dominic Rotella Louisville * graduate student
Lindsay Pummell Franklin, OH +
Nickie Lewis Louisville
Leah Simer Centralia, IL
CHAMBER
MUSIC
SOCIETY
of Louisville
JLIIUUl SJ 1
music
INIVERSIIY of I OUISVILLE
dare to be great
68th Season
Three Hundred Twenty-Second Concert
of the Society
Emerson String Quartet
Eugene Drucker, violin
Philip Setzer, violin
Lawrence Dutton, viola
David Finckel, cello
Margaret Comstock Concert Hall
University of Louisville School of Music
Sunday, April 23, 2006
3:00 P.M.
The Chamber Music Society was founded in 1938 by the University of
Louisville and operates in affiliation with the University of Louisville
School of Music.
The Chamber Music Series is dedicated to the memory of
Miriam Weis
(1921-1976)
These concerts are a tribute both to the music community...young and
old, professional and amateur...which received her loving attention, and
to this special music which she treasured.
Acknowledgments
The Chamber Music Society of Louisville is supported by the generosity of
numerous individuals and organizations who join in its purpose ofpresenting
performances of the world's best chamber music by its most renowned
artists. The Board of Trustees thanks all who contribute to this effort and
who help bring meaningful music to us all:
Society Sustainers, Benefactors, Patrons and donors
The Miriam Weis Endowment
The Gerhard Herz Estate
University of Louisville School of Music
Upcoming Concerts of the 2006-2007 Season:
Czech Nonet: October 15, 2006
Los Angeles Guitar Quartet: November 19, 2006
Takacs Quartet: January 28, 2007
Kalichstein-Laredo-Robinson Trio: March 18, 2007
Cavani Quartet: April 15, 2007
music.louisville.edu/chambermusicsociety
Partial funding has been provided by The Kentucky Arts Council,
a state agency in the Commerce Cabinet with support from the
National Endowment for the Arts.
Major funding is provided by those who subscribe to the Society
as Sustainers, Benefactors, and Patrons.
The School of Music Building is wheelchair accessible.
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
Program
Quartet in E-flat Major, Op. 127 (1823-4)
Maestoso; Allegro
Adagio, ma non troppo e molto cantab ile
Scherzando vivace
Finale
Eugene Drucker, first violin
Intermission
Quartet No. 15 in E-flat Minor, Dmitri Shostakovich
Op. 144 (1974) * [performed without pause ] (1906-1975)
Elegy: Adagio
Serenade: Adagio
Intermezzo: Adagio
Nocturne: Adagio
Funeral March: Adagio molto
Epilogue: Adagio; Adagio molto
Philip Setzer, first violin
* first performance for the Society
This concert is presented through posthumous funding from
Dr. Gerhard Herz, a Society founder and renowned music historian.
The Emerson String Quartet appears by arrangement with
IMG Artists and records exclusively for Deutsche Grammophon.
www.emersonquartet.com
The audience is invited to meet the artists following today's concert
in the Green Room behind the stage area.
Ludwig van Beethoven
(1770-1827)
Program Notes Addendum, April 23,2006 at 3:00 P.M.
The Fifteenth Quartet by Dmitri Shostakovich is an extraordinary piece. With this work
the season ends not with buoyancy, but with profundity. And this unusual conclusion is in
the hands of artists eminently qualified to leave us with a sense of profound, poignant
meaning. The following description, an addendum to the program notes, is intended to
further enhance the listening experience with a particularly direct and succinct description
of the music by Shostakovich biographer Laurel E. Fay:
"With failing health and a tormented past, Dmitri Shostakovich in later life became
increasingly preoccupied with the notion of death. In his music this is reflected not simply
in the choices of text and subject matter. . . but also in the reshaping of his musical
language. His style became more introspective, more bleak, more austere. Nowhere is this
tendency more marked than in his last string quartet. . . a work widely regarded as the
composer's private requiem. . . The form of the Fifteenth Quartet is extraordinary. Its six
movements, performed without a break, are all marked Adagio. The fifth movement,
Funeral March, provides the only contrast in tempo, though, significantly, its tempo is
slower (Adagio molto) than that of the other movements. The unusual consistency of
tempo is matched by a unity of key: the tonic key of E-flat minor dominates the entire
quartet. Within these incredible restraints, however, Shostakovich achieves a maximum
degree of variety and contrast. [over]
"The Elegy demonstrates the prevailing austerity and concentration. The mirror-like
theme, introduced fugally, is archaic in its simplicity. The texture is modal and
transparent, and tlie dynamic level rarely rises above piano.
"The opening of the second movement, Serenade, with its harsh, overlapping crescendos
and strident dissonance, makes a terrifying contrast. It paves the way for the fragmentary,
wistful strains of a waltz which fails to gain momentum before it is suppressed by the
destructive forces.
"The Intermezzo, with a cadenza-like flourish for the violin over a sustained pedal in the
cello acts as a transition to the Nocturne. Here the warm, lyrical melody on the muted
viola is framed by the gently undulating arpeggiations of violin and cello. Toward the
end, the intrusion of a dotted-note rhythmic motive heralds the Funeral March, where the
emphatic chordal reiteration of the dotted motive alternates with impassioned statements
by individual instruments.
"Tied together by rapid trilling effects, the Epilogue weaves together brief reminiscences
from the earlier movements into a cyclic whole."
The Chamber Music Society oe Louisville 2005-2006
MEMBERS OFTHE BOARD:
Ms. Robin Hicks, President
Ms. Barbara Sexton Smith, Vice-President
Mr. Tom Pike, Treasurer
Ms. Barbara B. Brick, Executive Committee
Mr. Ben Franklin, Executive Committee
Dr. Acton Ostling, Jr., Executive Committee
Ms. Anne L. Pope, Executive Committee
Dr. Christopher Doane, Ex-Officio
Dr. Douglas Haynes
Mr. Bruce Heim
Ms. Jean Kalkhof
Dr. Brenda E. Kee
Mr. Peter McHugh
Mrs. Sarah Provancher
Mrs. Jacqueline Rosky
Mr. Jeff Stodghill
Mr. Dallas Tidwell
Ms. Kristin Drown Wingfeld
HONORARY MEMBERS:
Mr. Lee Luvisi
Mrs. Macauley Smidi
Mr. Ferd B. Weis
SUSTAJNERS:
Dr. and Mrs. Kenton Atwood
Mr. and Mrs. John Bickel
Ms. Barbara B. Brick
Drs. David Bybee and Polly Coombs
Drs. Marie and George Doyle
Mr. and Mrs. Ben Franklin
Dr. and Mrs. Douglas M. Haynes
Mr. and Mrs. Robert Kulp
Bell Miller
Anne L. Pope
Mr. Ferd B. Weis
Mrs. Jane Towery-Woolsey
BENEFACTORS:
Mr. and Mrs. John T. Bondurant
Ms. Alison Ewart and Mr. Paul Vice
Dr. and Mrs. Walter Feibes
Mrs. Emerson Foulke
Dr. Sue McGeehee Gilvin
Mr. Karl C. Gruen
Ms. Ruby E. Hampton
Mr. and Mrs. Jay Harris
Mr. Wallace R. Horine
Dr. Chester C. Kratz
Mr. and Mrs. Robert F. Logsdon
Judith McCandless and Grady Clay
Peter and Carole McHugh
Dr. and Mrs. Condict Moore
Mr. and Mrs. Louis J. Moseson
Dr. and Mrs. Alton E. Neurath, Jr.
Dr. Acton Ostling, Jr.
Mrs. Jacqueline Rosky
Mr. and Mrs. Robert H. Schulman
Alice and Brooks Senn
Barbara Sexton Smith
Mr. and Mrs. Yandell R. Smith
Dr. James and Nan Spalding
Mr. Gene P. Stotz
Dr. and Mrs. Grant Taylor
Mr. and Mrs. Dallas Tidwell
Mr. and Mrs. James R. Voyles
Dr. and Mrs. Richard A. Ward
Dr. and Mrs. Robert L. Weaver
Jonathan and Martha Ziskind
PATRONS:
Mr. and Mrs. Stuart E. Alexander
Mrs. Charles M. Allen
Mrs. Ediel C. Baer
Carolyn K. Balleisen
Ms. Sara Bein
Mrs. Edith Bingham
Dr. C.W. Blair
Mr. AD. Bos
Ms. Kathie M. Buchino
John F. Carroll
Dr. and Mrs. Dario A Covi
Frances Cummins
Mrs. William G. Earley
Mrs. Ewing A Fahey
Mrs. M.T. Fliegelman
Mrs. Aan Goldberg
Ms. Mary Louise Gorman
Ms. Kadvy Gundersen
Ms. Marion Harcourt
Ms. Barbara B. Hardy
Mrs. Elizabeth Herz
Ms. Brooke Hicks
Dr. Frederic Hicks
Ms. Robin Hicks
Mr. David A Hoefer
Rose Isetti
Helene Katz
Dr. Brenda Kee
William Kelley III
Dr. Sandor Klein
Ms. Anne Ogden
Ms. Susannah Onwood
Mr. Peter D. Pecere
Mrs. Joan C. Rapp
Dr. and Mrs. Arthur Slavin
Mrs. Macauley Smith
Drs. James and Nan Spalding
Frank J. Swartz
Mr. and Mrs. William Walsh III
Marilyn Foulke, Secretary
Mrs. Jane Towery-Woolsey, Corresponding Secretary
RECITAL
Scott Moore, violin
Lisa Reynolds, piano
April 24, 2006
7:00 p.m.
UofL - Comstock Hall
Violin Concerto No. 4 in D major, K. 218
Allegro
Andante cantabile
Rondo. Andante grazioso -
Allegro mo non troppo
Partita No. 1 in B minor for Solo Violin, BWV 1002
Allemanda - Double
Corrente - Double
Sarabande - Double
Tempo di Bouree - Double
Sonata in G minor for Violin and Piano (1917)
Allegro vivo
Intermede. Fantasque et leger
Finale. Tres anime
W. A. Mozart
(1756-1793)
J. S. Bach
(1685-1750)
Claude Debussy
(1862-1918)
INlVERSIIYoJ I DUimLE ,
dare to be great
presents
Jason Mallory, baritone
student of Daniel Weeks
with
Samuel Hodges, piano
and
Jack Ashworth, harpsichord
Charlie Patton, cello
Graduate Recital
Tuesday Evening
April 25, 2006
Margaret
7:00 p.m.
Comstock Concert Hall
inkin'? is not permitted in the School of Music building. In the unlikplu „rc ,,
of recording devices and flash photography is strictly prohibited. PlJse *° ** ***' ^
10 )
'OU.
PROGRAM
Lord, what is man?
From Italienisches Liederbuch I
Ihr seid die Allerschonste
Der Mond hat eine schwere Klag' erhoben
Selig ihr Blinden
Dafi doch gemalt all' deine Reize waren
Gesegnet sei
Henry Purcell
( 1658 / 9 - 1695 )
Hugo Wolf
( 1860 - 1903 )
Four Songs
Lastu lainehilla
Sav, say susa
Under strandens granar
Demanten pa marssnon
Vi mnye pisali... Kogda by zhizn
from Yevgeny Onegin
Jean Sibelius
( 1865 - 1957 )
Pyotr Il'yich Tchaikovsky
( 1840 - 1893 )
PAUSE
Four Songs
La vague et la cloche
Extase
L'invitation au voyage
Le manoir de Rosamonde
From Old American Songs
The Boatmen's Dance
Zion's Walls
The Golden Willow Tree
Long Time Ago
The Dodger
Henri Duparc
( 1848 - 1933 )
Aaron Copland
( 1900 - 1990 )
This recital is given in partial fulfillment of the requirements for the Master of Music degree.
You ARE CORDIALLY INVITED TO ATTEND A RECEPTION IN ROOM 125 FOLLOWING THE PERFORMANCE.
TEXTS AND TRANSLATIONS
LORD, WHAT IS MAN? (A DIVINE HYMN), Z. 192
Henry Purcell
(Text by Dr. William Fuller)
Lord, what is man, lost man.
That Thou shouldst be so mindful of him?
That the Son of God forsook his glory, His abode,
To become a poor, tormented man!
The Deity was shrunk into a span,
And that for me, O wond'rous love, for me.
Reveal, ye glorious spirits, when ye knew
The way the Son of God took to renew lost man,
Your vacant places to supply;
Blest spirits tell,
Which did excel,
Which was more prevalent,
Your joy or your astonishment,
That man should be assum'd into the Deity,
That for a worm a God should die.
Oh! for a quill, drawn from your wing
To write the praises of Eternal Love;
Oh! for a voice like yours to sing
That anthem here, which once you sung above.
Hallelujah!
From Italienisches Liederbuch I
Hugo Wolf
(Texts by Paul Heyse)
Ihr seid die Allerschonste, no. 7
You are the loveliest
Ihr seid die Allerschonste weit und breit,
viel schoner als im Mai der Blumenflor.
Orvieto's Dom steigt so voll Herrlichkeit,
Viterbo's groSster Brunnen nicht empor.
So hoher Reiz und Zauber ist dein eigen,
der Dom von Siena mufi sich vor dir neigen.
Ach! du bist so an Reiz und Amuth reich,
der Dom von Siena selbst ist dir nicht gleich.
You are the loveliest far and wide,
much more beautiful than the blooming flowers in May.
Neither Orvieto's cathedral nor Viterbo's
greatest fountain rises so magnificently.
So great is your charm and magic,
the cathedral of Siena must bow before you.
Ah, you are so rich in charm and grace,
the cathedral of Siena is not your equal.
Der Mond hat eine schwere Klag' erhoben, no. 3
The moon has raised a serious complaint
Der Mond hat eine schwere Klag' erhoben
und vor dem Herm die Sache kund gemacht:
Er wolle nicht mehr steh'n am Himmel droben,
du habest ihn um seinen Glanz gebracht.
Als er zuletzt das Stemenheer gezahlt,
da hab' es an der vollen Zahl gefehlt;
zwei von den schonsten habest du entwendet:
die beiden Augen dort, die mich verblendet.
The moon has raised a serious complaint
and has brought the matter before the Lord:
He will no longer stand there in the heavens,
you have robbed him of his radiance.
When he last counted the starry host,
some of their number were missing;
two of the most beautiful have you stolen;
the two eyes there, which dazzle me.
Ljgihf Bimaen,
a ihr Blinden, die ihr nicht zu schauen
tdie Reize, die uns Gluth entfachen;
? ihr Tauben, die ihr ohne Grauen
vjlagen der Verliebten konnt verlachen;
lihrStummen, die ihr nicht den Frauen
t eure Herzensnoth verstandlich machen;
seligihr Todten, die man hat begraben!
ifsollt vor Liebesqualen Ruhe haben.
DaS doch gemalt all' deine Reize waren, no. 9
DaSdoch gemalt all' deine Reize waren,
iind dann der Heidenfurst das Bildnis fande.
Er wiirde dir ein grofi Geschenk verehren,
iind legte seine Kron 1 in deine Hande.
I im rechten Glauben miifit' sich bekehren
I sein ganzes Reich, bis an sein fernstes Ende.
Imganzen Land wiird’ es ausgeschrieben,
Christ soil ein jeder werden und dich lieben.
Einjeder Heide flugs bekehrte sich
und wiird' ein guter Christ und liebte dich.
Gesegnet sei, no. 4
Gesegnet sei, durch den die Welt entstund;
wie trefflich schuf er sie nach alien Seiten!
Erschuf das Meer mit endlos tiefen Grund,
erschuf die Schiffe, die hiniiber gleiten,
erschuf das Paradies mit ew'gem Licht,
erschuf die Schonheit und dein Angesicht.
Four Songs
I Fastu lainehilla, op. 17, no. 7
fea lastu lainehilla?
Pilske pieni aalon paalla?
^siksensa illan suussa?
Virran vetta vaeltamassa?
F u dta lastu lainehilla,
Pllske Pieni aallon paalla:
°tyan lasten laitumilta,
Slni lunturin tuvilta.
kulta hongan kaasi,
e ' s ti, veisti sulho venhon:
°hta vierii virran vetta,
nuorta noutamaan!
Blessed are the blind
Blessed are the blind, who cannot see
the charming ones, who enflame us:
blessed be the deaf, who without horror
can laugh at the lament of lovers;
blessed be the dumb, who cannot speak
their hearts' needs to women;
blessed be the dead, who are buried!
they should have peace from the pain of love.
If only all your charms had been painted
If only all your charms had been painted,
and then a heathen prince had found your painting.
He would present you a great gift,
and lay his crown in your hands.
To the true faith would be converted
his whole realm, to its most distant borders.
In all the land it would be decreed,
all shall be Christian and love you.
Every heathen would be converted immediately
and would be a good Christian and love you.
Praise him
Praise him, through whom the world arose;
how excellently he created it on all sides!
He created the ocean with its endless deeps,
he created the ships, which glide over it,
he created Paradise with eternal light,
he created beauty and your face.
Jean Sibelius
Wand'ring wood
(Text by Ilmari Calamnius)
Wand'ring wood, where do you come from?
Secret signal on the water?
Briskly bobbing little silver:
What may be the message you bring me?
Wand'ring far upon the water,
Wooden sliver, secret signal:
Came from distant northern regions
Where the moss-covered cabins are.
Where my sweetheart felled the fir tree.
Built a boat to bring his bride home;
Soon it wanders on the water,
Soon this maiden meets her mate!
Sav, sav, susa, op. 36, no. 4
Sav, sav, susa,
vag, vag, sla,
I sjigen mig var Ingalill
den unga mande ga?
Hon skrek som en vingskjuten and,
nar hon sjonk i sjon,
det var nar sista var stod gron.
De voro henne gramse vid Ostanalid,
det tog hon sig sa ilia vid.
De voro henne gramse for gods och gull
och for hennes unga karleks skull.
De stucko en ogonsten med tag,
de kastade smuts i en liljas dagg.
Sa sjungen, sjungen sorgsang,
I sorgsna vagor sma,
sav, sav, susa,
vag, vag, sla!
Under strandens granar, op. 13, no. 1
Under strandens granar lekte gossen
vid en vik av den besjungna Saimen.
Honom sag ur boljans salar Nacken,
sag med karlek pa den skona gossen,
onskande att honom till sig locka.
Da som gubbe steg han forst pa stranden,
men den muntre gossen flydde honom;
och som yngling steg han se'n pa stranden,
men den muntre gossen bidde icke;
sist, forvandlad till en yster fale,
steg han upp och hoppade bland traden.
Nu nar gossen sag den muntre falen,
gick han sakta lockande till honom,
grep i hast hans man och sprang pa ryggen,
lysten att en glattig ritt forsoka;
men i samma ogonblick till djupet
flydde Nacken med sitt skona byte.
Kom sa gossens moder ner till stranden,
sokande sitt bam med sorg och tarar.
Henne sag ur boljans salar Nacken,
sag med karlek pa den skona kvinnan,
onskande att henne till sig locka.
Da som gubbe steg han forst pa stranden,
men den sorgsna kvinnan flydde honom;
och som yngling steg han se'n pa stranden.
men den sorgsna kvinnan bidde icke;
sist, forvandlad till den muntre gossen,
ag han glad och vaggade pa vagen.
Reeds, reeds, rustle
(Text by Gustaf Froding)
Reeds, reeds, rustle,
waves, waves, lap,
are you telling me where
young Ingalill has gone?
She shrieked like a wounded duck,
as she sunk into the lake,
it was when spring was last green.
They were hateful to her at Ostanalid,
and she took it so deeply to heart.
They envied her for her wealth and worldly goods
and because of her young love.
They pierced the apple of our eye with thorns,
they spattered filth on a lily's dew.
So sing, sing your lament,
you sad, small waves,
reeds, reeds, rustle,
waves, waves, lap.
Beneath the fir trees on the shore
(Text by Johan Ludvig Runeberg)
Beneath the fir trees on the shore a boy plays
at an inlet of legendary Lake Saimaa.
From his halls under the water the sprite
saw him and fell in love with the beautiful boy,
and decided to lure the boy to him.
First he appeared on the shore as an old man,
but the happy lad ran away;
and later he appeared on the shore as a youth,
but the happy child was not fooled;
the last time he changed into a bird,
and he hopped around among the trees.
Now when the youth saw the happy bird,
he crept up to entice it,
he seized his mane and leaped upon his back,
eager to try for a smooth ride;
but in the blink of an eye the sprite
fled to the depths with his fine prize.
Then the boy's mother came to the shore,
searching for her child in tears and sorrow.
From his halls under the water the sprite
saw her and fell in love with the beautiful woman,
and decided to lure her to him.
First he appeared on the shore as an old man,
but the sorrowing woman fled;
then he appeared on the shore as a youth,
but the unhappy woman was not fooled;
the last time he changed into the happy boy,
he lay happily and rockpH on j-Ho umw
N , U/ nar modern sag sin son den sorjde,
‘ a n g hon ut i boljan i hans armar,
Ivsten att ur vadan honom radda;
^enisamma ogonblick till djupet
dydde Nacken med sitt skona byte.
pemanten pa marssnon, op. 36, no. 6
Padrivans sno dar glimmar
mdiamant sa klar.
Ej farms en tar, en parla,
com hogre skimrat har.
Uiaven hemlig langtan
hon blanker himmelskt sa:
hon blickar emot solen,
darskon denses uppga.
Vid foten av dess strale
dllbedjande hon star
ochkysser den i karlek
ochsmalter i en tar.
0, skona lott att alska
det hogsta livet ter,
att strala i dess solblick
och do, nar skonst den ler!
Vimnye pisali ... Kogda by zhizn
from Yevgeny Onegin, op. 24
Bh MHe nncayiw. He onrupaMTecb.
Hnponea 4 ymn AOBepmiBOM npw3HaHba,
®0BH HeBMHHOM
MHe Bama MCKpeHHoeTb Mw/ia!
^Ha b BoaHeHbe npHBeaa
®ho yMoaKHyBiiiHe HyBcraa.
Ho Bac XBa/iMTb n He xony;
J aaHeeBaM OTruany
apii3HaHbeM TaiOKe Se3 HCKyccTBa.
HpiiMnTe x ncnoBe4b moio,
ctob Ha cy 4 , BaM OT^aio!
6m XH3Hb ^OMauiHHM KpyroM
,0r paHHHMTb 3axoTea,
' 0r 4a 6 MHe 6biTb othom, cynpyroM
''PUXTHbiH xpetiMM noBeaea,
t0Be P HO b, KpoMe Bac oahom,
^aecrbi He HCKaa whom.
a He C03 A3 h Ann 6/iaxeHCTBa,
MyxAa Ayma moh.
P a CHbi Baiun coBepmeHCTBa,
K6 OBce He aoctohh h .
Now, when the mother saw her son, for whom she searched,
she jumped up into his arms in the waves,
eager to save him from the water;
but in the blink of an eye the sprite
fled to the depths with his fine prize.
Diamond on the March snow
(Text by Josef Julius Wecksell)
There on the drifts of snow glimmers
a diamond so clear.
Never was there a tear, a pearl,
which has shimmered more brilliantly.
Out of a secret longing
she looks towards the heavens:
she gazes at the sun,
where it is seen beautifully rising.
At the foot of its rays
the sun stands adoring
and kisses the diamond in love
and melts it into a tear.
Oh, beautiful destiny to love
the highest life has to offer,
to glow in life's sun-gaze
and die, when it laughs so beautifully!
Pyotr Il'yich Tchaikovsky
(Libretto by Konstantin Stepanovich Shilovsky and
Tchaikovsky after Alexander Sergeyevich Pushkin)
You have written to me, don't deny it.
I have read your soul's trusting confessions,
pouring out of innocent love;
to me your sincerity is dear!
It has brought into excitement
long silent feelings.
But I don't want to praise you;
I shall pay you back for it
with an admission, without pretense.
Accept my confession,
I present myself to you for judgment!
If I desired to limit my life
by a family circle,
if a happy lot were willed for me
to be a father and a husband,
then, truly beside you alone,
I would look for no other bride.
But I am not created for bliss,
it is alien to my soul.
Your virtues are in vain,
I don't deserve them at all.
rioBepbTe - coBecTb b tom nopyxow, -
cynpy»cecTBO HaM 6y/i,eT Myxow.
51, CXOHbKO HH AK)6mA 6bl BaC,
npuBbixHyB, pa3aK>6/uo Tomac.
Cy^MTe >x Bbi, KaKwe po3bi
naM 3 aroTOBMT THMeHew,
m, MO>xeT 6bm>, Ha mhoto AHew!
MenTaM m roAaM Her B03BpaTa,
He o6hob/1io Aymw Moew!
51 Bac aioQak) nio6oBbio 6paTa,
viAb, MOxeT 6biTb, eiqe cimbHeM,
viAb, Mo>xeT SbiTb, eme HejxHew!
riocHymaMTe >x MeM 6e3 raeBa:
cMeHMT ne paa M^iaAafl AeBa
MeHTaMM, MenTaMM nencMe MeHTbi.
Four Songs
L a vague et la cloche
Une fois, terrasse par un puissant breuvage,
J'ai reve que parmi les vagues et le bruit
De la mer je voguais sans fanal dans la nuit,
Mome rameur, n'ayant plus l'espoir du rivage...
L'ocean me crachait ses baves sur le front,
Et le vent me gla^ait d'horreur jusqu'aux entrailles,
Les vagues s'ecroulaient ainsi que des murailles
Avec ce rythme lent qu'un silence interrompt...
Puis, tout changea...la mer et sa noire melee sombrerent...
Sous mes pieds s'effondra le plancher de la barque,
Et j'etais seul dans un vieux clocher,
Chevauchant avec rage une cloche ebranlee.
J'etreignais la criarde opiniatrement.
Convulsif et fermant dans l'effort mes paupieres,
Le grondement faisait trembler les vielles pierres,
Tant j'activais sans fin le lourd balancement.
Pourquoi n'as-tu pas dit, o reve, ou Dieu nous mene?
Pourquoi n'as-tu pas dit s'ils ne finiraient pas
L'inutile travail et l'etemel fracas
Dont est fait la vie, helas, la vie humaine!
Extase
Sur un lys pale mon coeur dort
D'un sommeil doux comme la mort,
Mort exquise, mort parfumee
Du souffle de la bien-aimee.
Sur ton sein pale mon coeur dort
D'un sommeil doux comme la mort.
Believe me - and conscience be my pledge -
marriage would be a torment for us.
No matter how much I loved you,
we would stop loving when we got used to it.
Imagine what kind of roses
the god of marriage is preparing for us,
and perhaps for many days!
For dreams and years there is no return,
I can't renew my soul!
I love you with the love of a brother,
or perhaps more strongly,
or perhaps more tenderly!
Listen to me without anger:
a maid will more than once change
her dreams, light dreams!
Henri D up arc
The wave and the bell
(Text by Francois Coppee)
Once, overcome by a powerful drink,
I dreamed that amidst the waves and the noise
of the sea I rowed without a lantern in the night,
a dismal rower, having no more hope of the shore...
The ocean spat its foam on my brow,
and the wind froze me with horror to my very bowels,
the waves crashed like walls
with a slow rhythm interrupted by a silence...
Then everything changed...the sea and its black fray faded away,
the floor of the boat collapsed under my feet,
and I found myself alone in an old steeple,
furiously riding a shaking bell.
I gripped the noisy bell stubbornly.
Convulsive, and closing my eyes with the effort,
the rumbling made the old stones tremble,
so much did I accelerate the heavy rocking.
Why didn't you say, O dream, where God leads us?
Why didn't you say if it will not end,
the useless work and the eternal din
of which life is made, alas, the human life!
Ecstasy
(Text by Jean Lahor)
On a pale lily my heart sleeps
a sweet sleep like death,
exquisite death, death perfumed
by the breath of my beloved.
On your pale breast my heart sleeps
a sweet sleep like death.
^invitation au voyage
The invitation to the journey
(Text by Charles Baudelaire)
^[ 0 n enfant, ma soeur,
Songeala douceur
D'aller la-bas vivre ensemble,
Aimer a loisir.
Aimer et mourir
Au pays qui te ressemble!
Les soleils mouilles
De ces dels brouilles
Pour mon esprit ont les charmes
Simysterieux
Detes traitres yeux,
Brillant a travers leurs larmes.
li, tout n'est qu'ordre et beaute.
Luxe, calme et volupte!
Vois sur ces canaux
Dormir ces vaisseaux
Dont l'humeur est vagabonde;
C'est pour assouvir
Ton moindre desir
Qu'ils viennent du bout du monde.
Les soleils couchants
Revetent les champs,
Les canaux, la ville entiere,
D'hyacinthe et d'or;
Le monde s'endort
Dans une chaude lumiere!
La, tout n'est qu'ordre et beaute.
Luxe, calme et volupte!
Le manoir de Rosemonde
Desa dent soudaine et vorace,
Comme un chien 1'amour m'a mordu...
En suivant mon sang repandu,
\'a, tu pourras suivre ma trace...
Prends un cheval de bonne race,
hrs, et suis mon chemin ardu,
Ffondriere ou sender perdu,
la course ne, te harasse!
En passant par ou j'ai passe,
Eu verras que seul et blesse,
) a iparcouru ce triste monde.
Si qu ainsi je m'en fus mourir
^' en l°* n / bien loin, sans decouvrir
F e bleu manoir de Rosemonde.
My child, my sister,
think how sweet it would be
to go there to live together,
to love at leisure,
to love and to die
in the land that resembles you!
The watery suns
of these misty skies
for my soul have charms
so mysterious
of your treacherous eyes,
shining through their tears.
There, everything is order and beauty,
luxury, calm and pleasure!
See on those canals
those vessels are sleeping
whose nature is to roam;
it is to satisfy
your slightest wish
they've come from the ends of the earth.
The setting suns
again clothe the fields,
the canals, the whole city,
with hyacinth and gold;
the world falls asleep
in a warm light!
There, everything is order and beauty,
luxury, calm and pleasure!
The manor of Rosemonde
(Text by Robert de Bonnieres)
With its sudden and voracious teeth,
love has bitten me like a dog...
If you follow my blood that was shed,
go, you will be able to follow my track...
Take a horse of good breed,
set out, and follow my arduous road,
through pitfalls and lost paths,
if the journey does not tire you!
Passing where I have passed,
you will see that, alone and wounded,
I have traveled this sad world.
And thus I wrought my own death
far, far away, without discovering
the blue manor of Rosemonde.
From Old American Songs
Aaron Copland
The Boatmen's Dance (Minstrel Song-1843), vol. I, no. 1
High row the boatmen row,
Floatin' down the river the Ohio.
The boatmen dance, the boatmen sing.
The boatmen up to ev 7 rything.
And when the boatmen gets on shore
He spends his cash and works for more.
Then dance the boatmen dance,
O dance the boatmen dance.
O dance all night 'til broad daylight,
And go home with the gals in the momin'.
I went on board the other day
To see what the boatmen had to say.
There I let my passion loose
An' they cram me in the callaboose.
The boatman is a thrifty man,
There's none can do as the boatman can.
I never see a pretty gal in my life
But that she was a boatman's wife.
Zion's Walls (Revivalist Song), vol. II, no. 2
Come fathers and mothers come.
Sisters and brothers come,
Join us in singing the praises of Zion.
O fathers don't you feel determined
To meet within the walls of Zion,
We'll shout and go round the walls of Zion.
The Golden Willow Tree (Anglo-American Ballad), vol. I, no. 3
There was a little ship in South Amerikee,
Crying O the land that lies so low,
There was a little ship in South Amerikee,
She went by the name of the Golden Willow Tree,
As she sailed in the lowland lonesome low,
As she sailed in the lowland so low.
We hadn't been a sailin' more than two weeks or three.
Till we came in sight of the British Roverie,
As she sailed in the lowland lonesome low.
As she sailed in the lowland so low.
Up stepped a little carpenter boy. Says
"What will you give me for the ship that I'll destroy?”
"I'll give you gold or I'll give thee.
The fairest of my daughters as she sails upon the sea
If you'll sink 'em in the lowland lonesome low.
If you'll sink 'em in the land that lies so low."
He turned upon his back and away swum he,
l^svvum till he came to the British Roverie,
He had a little instrument fitted for his use.
He bored nine holes and he bored them all at once.
He turned upon his breast and back swum he.
He swum till he came to the Golden Willow Tree.
'Captain, O Captain, come take me on board,
do unto me as good as your word
for I sank 'em in the lowland lonesome low,
Isank 'em in the lowland so low."
‘Oh no, I won't take you on board,
Nor do unto you as good as my word,
]f)o’ you sank 'em in the lowland lonesome low,
Hio' you sank 'em in the land that lies so low:"
If it wasn't for the love that I have for your men,
fd do unto you as I done unto them,
rd sink you in the lowland lonesome low,
Fd sink you in the lowland so low:"
He turned upon his head and down swum he,
He swum till he came to the bottom of the sea.
Sank himself in the lowland lonesome low,
Sank himself in the land that lies so low.
Long Time Ago (Ballad), vol. II, no. 3
On the lake where droop'd the willow
Long time ago,
Where the rock threw back the billow
Brighter than snow.
Dwelt a maid beloved and cherish'd
By high and low.
But with autumn leaf she perished
Long time ago.
Bock and tree and flowing water
Long time ago.
Bird and bee and blossom taught her
Love's spell to know.
'^ile to my fond words she listen'd
Murmuring low.
Lenderly her blue eyes glisten'd
L°ng time ago.
.’he Dodger (Campaign Song), vol. I, no. 2
(es the candidate's a dodger,
t'es a well-known dodger,
t'es the candidate's a dodger,
¥es and I'm a dodger too.
He'll meet you and treat you,
And ask you for your vote.
But look out boys,
He's a-dodgin' for your note.
Yes we're all dodgin'
A-dodgin', dodgin', dodgin'.
Yes we're all dodgin'
Out away through the world.
Yes the preacher he's a dodger,
Yes a well-known dodger.
Yes the preacher he's a dodger.
Yes and I'm a dodger too.
He'll preach you a gospel.
And tell you of your crimes.
But look out boys,
He's a-dodgin for your dimes.
Yes we're all dodgin'...
Yes the lover he's a dodger.
Yes a well-known dodger.
Yes the lover he's a dodger,
Yes and I'm a dodger too.
He'll hug you and kiss you.
And call you his bride,
But look out girls,
He's a-tellin' you a lie.
Yes we're all dodgin'...
PROGRAM NOTES
lORR
WHAT IS
man? (A Divine Hymn), Z. 192
Henry Purcell
* 1* I* bef ° re ““5 “ birth, *e Puritans and Oliver Cromwell - under the Commonwealth - had
lushed music in churches, destroyed song-books, hacked organs to pieces, and closed down the theaters Por„u
* bom during the subsequent revival of the arts under Charles n, and as a teenager Purcell had already belomele
listat Westminster Abbey and king s composer-m-residence. As such, he was the premier composer of teeariv
filish Restoration, famous for his operas, masques, mcidental music, and church anthems. However the OrZZ
^metis' greatest achievement was his ability to match rhythm, melody, ornamentation, and disso'nance to the
rhetorical and emotional quality of words: he moved the passions of his listeners. In order to do so, Purcell used the
brought to England m the Restoration by Italian immigrants - monody, a simple and passionate style developed
; Monteverdi and Caccim m order to illuminate the text of solo songs. As with most of Purcell's sacred solo literature
jie accompaniment for Lord, what is man? is limited to basso continuo, which would have included presumably a
heorbo or harpsichord and bass viol.
ihe text for this song seems especially appropriate for the second week in the Easter season, as it addresses the grace
jf God in providing man's salvation. This sacred text, as with many Divine Hymns, was written by a cleric: Dr.
ffiam Fuller (1608-1675), the Dean of St. Patrick's Cathedral in Dublin, the Bishop of Limerick, and the Bishop of
lincoln. Purcell set two other sacred texts by Fuller, one of which, "Evening Hymn," includes a similar "Hallelujah"
section to that of "Lord, what is man?" These sacred songs, published in the 1693 volume of Harmonia Sacra, were
ievotional music intended for public and domestic performance, and would have been entrusted to boys and treble
roices, Today, many countertenors and sopranos perform this repertoire.
consummate text setting begins with a florid recitative, in which the speaker expresses bewilderment and
mzement when contemplating God's grace toward himself, whom he calls a "lost man" and "a worm." Purcell sets
lie contrasting text about "lost man" and "a worm" lower in range, while the "Son of God," "blest spirits," and "God"
>ie set in rising lines and a higher range. He paints the words "joy" and "astonishment" with a blissful, exciting
Jielisma and an abrupt, falling figure like a jaw dropping in amazement, respectively. The middle section of the song
in a measured, triple meter, which may signify the trinity, is a dance meter familiar to Purcell from early Restoration
music. This triple meter is contrived by conscious humans - it is not a meter from nature - and thus is appropriate for
contemplation of the divine, as well as for singing about the arts, such as in the text "Oh, for a voice." The "Hallelujah"
section of the aria is much more varied, repetitive, and ornate, exemplifying Purcell's mastery of the Italianate aria
style.
fnoM Italienisches Liederbuch I Hugo W olf
" le impositions of Austrian composer Hugo Wolf are the culmination of the synthesis of poetry and music in the
fflnan Lied. Wolf was enamored of Richard Wagner, and he incorporated Wagnerian musical techniques, especially
■ilamatory and non-lyrical vocal writing, into the much more compact form of the song. Wolf's highly colorful and
'Passive harmonic palate included a great deal of dissonance, chromaticism, and obscured tonal orientation, o s
y . were included in small sets and large songbooks, the fifth and final of which was his Italienisches Liederb “ ch -
songbook was unique in its composition because Wolf wrote the first book of 22 songs in two years, ,
' . e sec °nd book followed years of inactivity and depression. In a short burst of creativity, o s e
tmamm S 26 songs in five weeks in 1896.
2 the German P oet Paul Heyse (1830-1914) published translations of hundreds of Italian
Wi ^ F? ems cent ering on love in his Italienisches Liederbuch. Heyse gained the attention o m § languages-
with his books, poems, and dramas, and especially with his interest in Qassical
i Provencal, French, and Italian. From his base in Munich, where he organized th *
, ( HeySe traveled to Italy and collected multiple eighteenth-century publications ,, ^amine h ? alf are
UalJ ywome° f the S ? eakers 111e poetry are men adoring their lovers m a se at: ove, an ^ ^ ^ wdf set
chm nni n re J ec ting or reproaching their lovers. Most of the poems are only g
y two pages of music.
.lf's Italienisches Liederbuch has its own distinct style removed from all his other output: classically Italianate, simple,
ar concise, and intimate. The texture is reminiscent of a string quartet; with a vocal lme that is usually independent
the piano accompaniment, though incomplete without it. Wolf's melodies are hardly memorable, and include
ny passages with repeated notes, augmented and diminished skips, and chromaticism. Wolf does not use Italianate
lodies, rhythms, harmonies, colors, or structures in these songs, but rather he colored the text with his own penchant
tonal ambiguity and directional tonality. In these songs, which he called "poems for voice and piano," he compresses
3 tic and musical materials into a microcosm of emotion in a manner that no subsequent Lieder composer was able to
itate. The first and last two songs are representative of the adoring male voice present throughout the songbook,
lile the middle "Selig ihr Blinden" is one of the few male-voiced poems that scorn women for being the cause of
iken hearts.
ur Songs J ean Sibelius
e prominent Finnish composer Jean Sibelius is known for his innovative and neo-Romantic orchestral writing,
oecially his famous Nationalistic tone poem, Finlandia. He was bom during the Russian oppression of his homeland,
lowing over six hundred years of rule under Sweden; Finland gained its independence in 1917 during the Bolshevik
volution in Russia. Sibelius was instrumental in promoting Finnish independence, collecting and publishing Finnish
Ik music (though he never quoted it in his own composition), and through composing numerous pieces on the
rrnish national epic, the Kalevala (1835). Sibelius' music often portrays a darker side to life, which is reflective of the
niggles for Finnish independence. Although he set texts in Finnish, German, French, Italian, Latin and English, his
•cal music reflects the foreign oppression because most of the texts are in Swedish, which was the long-time language
administration and education in Finland.
belius wrote nearly 150 songs, the vast majority only for piano. However, the orchestra was his instrument of choice
icause it allowed him to write "soundcapes" and to create the mood and "pulse" of nature. Though he played piano,
2 used the orchestra as his primary compositional instrument, and it is natural that his piano accompaniments would
litate the thicker texture of the orchestra. Though there are moments of broad and sweeping Romanticism even in
le small cross-section presented here, Sibelius tends toward a much more declamatory style of writing akin to recitative
r to Wolf's style, rather than to the German Lieder tradition of flowing and broad melodies.
he one Finnish and three Swedish songs presented here are centered on nature imagery. In "Lastu lainehilla" (1902)
/ Ilmari Calamnius (1874-1970), the speaker glimpses a bobbing piece of wood in the water and nourishes hope that
?r lover will return. The driving, steady piano accompaniment and sustained vocal line characterize the infinite
jrizon in the Scandinavian landscapes. "Sav, sav, susa" (1900), by Gustaf Froding (1860-1911), exemplifies both
belius' broader, flowing Romantic lines in the beginning and ending of the song, with a declamatory, dramatic
chon in the center. The beautiful arpeggios in the lyrical sections of this song portray the movement of the reeds
id of the water at the shore of the lake. "Under strandens granar" (1892), by Johan Ludvig Runeberg (1804-1877), is
dark ghost story that reflects the conflict in Finland for its independence. The lake at which the poem is set is
nland s largest lake, Lake Saimaa. Its heinous inhabitant, the Ndcken - a shape-shifting, violin-playing and malevolent
a ter spirit - was known for being especially dangerous to women and children, whom he would lure to drown them
lakes. In "Demanten pa marssnon"(1916-7) by Josef Julius Wecksell (1838-1907), beautiful rolled chords and a
untermelody in the piano complement the broad and lyrical vocal line. This song contemplates the beauty of
joying the best that life has to offer, and of dying while attaining that perfection.
MNYE PISALI... KoGDA BY ZHIZN FROM YEVGENY ONEGIN, OP. 24 PYOTR Il'yICH TCHAIKOVSKY
'Jgemj Onegin, Tchaikovsky s Lyric Scenes in Three Acts," is an operatic adaptation and abridgement of the greatest
Hterary herita 8 e ' called "an encyclopedia of Russian life": Alexander Sergeyevich Pushkin's
uq iqqo\ • ? I \ 0 ^ Evgeny Onegin. Tchaikovsky, with the help of his librettist Konstantin Stepanovich Shilovsky
), me u e only the parts of the novel which involved the personal lives of the main characters, especially
ana, wi w om Tchaikovsky was enamored (were it not for Russian imperial censorship, the opera would have
en named latmna). Tchaikovsky wrote the opera in 1877-1878, though he was at first appalled at the idea of adapting
- assic novel. Since the opera is devoid of traditional theatrical effects, it required artistic simplicity and honesty
nqprvainr 1 S reason Tchaikovsky entrusted the 1879 premiere to the students of the Moscow
>scow Imperial^Opera 17 Moscow - ^ professional premiere was in 1881 at the Bolshoi Theatre by the
Jis ari a ta ^ es pl ace i 11 the Russian countryside in the 1820s, at the house of Madame Larina. Larina's daughter,
jtiana, has just sent a long letter confessing her love to the new and strange man in town, Eugene Onegin. However,
ializhg she exposed herself to possible rejection, she runs into her garden. Onegin tells Tatiana that he is touched by
H sincerity, but he cannot return her feelings. This cold verbal rejection of Tatiana's love seems rude and embarrasses
H In contrast to the cold response Onegin is giving Tatiana, notice the spacious and sweeping lyricism of Tchaikovsky's
5 cal melody.
our Songs Henri Duparc
inly sixteen songs survive written by Duparc, a perfectionist whose compositional output consists of little besides
: ench melodie ; he continually revised, polished, or destroyed his imperfect creations. His songs have an emotional
tensity and unity of poem and music that was unparalleled in French melodie until Gabriel Faure's mature period,
spare's teacher, Cesar Franck (1822-90), molded him into an ardent Wagnerian in a time of anti-Wagnerian protests
!Paris; Franck encouraged his students to attend Wagner's operas, and Duparc met Wagner as a guest of Franz Liszt
[1869. Duparc preferred rich harmonic structure, broad but simple melodic lines, and complex piano accompaniments
at sound like dense orchestral reductions. He favored a voice "capable of fluent, flexible phrasing and a real intensity
[tone" and despised vocal exhibitionism. Duparc set his songs only to poetry by the living Parnassian school poets,
,ho were concerned with perfection of form rather than feeling or emotion and whose poetry was elegant but
npersonal. He composed for only seventeen years, though he lived much longer, because he was stricken with a
ervous disease that kept him from composing for the rest of his life.
La vague et la cloche" (1871), by Francois Coppee (1842-1908), is a dramatic and tumultuous song with bold,
eclamatory setting for low voice. This is the only song Duparc composed initially for orchestra, and the listener
aould recognize the string section tremolos in the piano part. The word "vague" can mean both "wave" and
uncertain," which reveals the second layer of meaning in the poetry; the poet considers this second layer further at
he end of the song, as he asks where God leads us in our futile existence. Duparc dedicated this song to his friend and
;llow Franck pupil, Vincent d'Indy, who shared a love for Wagnerian music and style.
Extase" (1874) was dedicated to another friend and fellow Franck pupil, Camille Benoit. A tribute to Wagner's Tristan
nd Isolde, and a response to anti-Wagnerian criticism, it was thus fitting to dedicate the song to another lover of the
i'agnerian music and style. Because the piano dominates the melodie from the long introduction through the interlude
nd long postlude, which echoes the voice part's "mort exquise" from the middle of the song, Pierre Bemac calls this
ong a "Wagnerian nocturne" for the piano. There are no wild outbursts of drama in this song, but rather it is the
'(pression of ecstasy in repose and f ulfillm ent, known by the French as le petit mort. The poetry is by another Parnassian,
Jan Lahor (1840-1909, pseudonym for Dr. Henri Cazalis).
lie third song of this selection is arguably the best of Duparc's melodies, and is set to poetry by the greatest of the
! amassians, Charles Baudelaire (1821-1867). "L'invitation au voyage" (1870) was dedicated to Duparc's wife, which is
tting because the poetry invites the lover to the flower-filled fields, hazy skies, and peaceful canals of a seemingly
nearthly, unattainable paradise. Duparc uses a shimmering quality in the piano to paint the picture of the paradise,
otte Lehman described this song, "The music begins with a delicate weaving, like billowing veils of mist, warmed by
ie sun, light and silvery." In the second half of the piece, which is in modified strophic form, Duparc enlivens the
iano part with difficult but beautifully glistening arpeggios to invoke the luminous light that bathes the land in
iolden color.
lie most dramatic, rugged, and vigorous song of this set is "Le manoir de Rosemonde" (1879), set to poetry by Robert
■eBonnieres (1850-1905) and dedicated to the poet himself. This song begins with an agitated and forward-driving
•iano accompaniment figure of octaves in the bass voice in ascending motion, which characterizes the frantic horse
de of the speaker in his useless search for the unattainable. The voice is declamatory and urgent at the beginning,
W the second half is sad, breathless, and more lyrical as the speaker acquiesces to death without completing his
Jisst. The poem is filled with imagery commonly found in Romantic poetry, such as the quest for the unattainable
ejection (the blue rose), and the struggle and journey of life being more significant than the end result itself. The
Ante Rosemonde is itself vague and suggestive. It could be a connection to the flower, or to names of women who
] ntmonly inspired romantic tales - the wife of a Lombard king, or the mistress of Henry II of England.
om Old American Songs
Aaron Copland
ron Copland is known for forging a distinctly American style, influenced especially by jazz and by American folk
res, in his primarily orchestral compositions in the early twentieth century. He studied with Nadia Boulanger in
ris, who encouraged him to find his own voice and style, which emerged in pieces like Billy the Kid, Rodeo, and
palachian Spring, all of which have a sonority associated thereafter with the American frontier West. Copland was
st known for his orchestra and ballet works, as he preferred the large public venues of the stage, screen, radio,
evision, and concert hall, though he wrote film scores (one of which won an Academy Award), and two operas. The
:ond Hurricane and The Tender Land. However, Copland also loved the intimacy of the solo piano and the solo song,
th of which reminded him of the cabaret-style performances from his student years in France.
ipland wrote only two major song sets, the Old American Songs, published in two volumes in 1950 and 1952, and the
elve Poems of Emily Dickinson, finished in 1950. Each of the sets of Old American Songs contains five songs, originally
>red for medium voice and piano and later supplied with orchestral accompaniment. Rather than writing his
dodies in folk song style, Copland presents the actual tunes with his own musical flavors added, thus adapting
ditional songs for concert performance. The first set was premiered by Benjamin Britten and Peter Pears at the
deberg Festival in 1950, and was premiered in America by Copland and baritone William Warfield in 1951. Following
s initial success, Copland quickly wrote the second set, which he and Warfield premiered in 1952. The selections in
s recital are taken from both sets.
upland's version of "The Boatmen's Dance" was from an 1843 "original banjo melody" by "Old" Daniel Decatur
imett (1815-1904), who also composed the hit song "Dixie." "Zion's Walls" is a hymn tune whose original melody
d words are credited to John G. McCurry (1821-86), composer and compiler of tune books like the Social Harp.
ipland uses three themes from this song in the quintet finale of Act I in his opera The Tender Land. "The Golden
illow Tree" is a variant of the well-known Anglo-American ballad, more usually called "The Golden Vanity," which
is used by Benjamin Britten in his folk song settings. Copland's version is based on a recording of Justus Begley
th banjo accompaniment from 1937, and the piano imitates the sound and figures a guitar would play. Copland's
arce for "Long Time Ago" was issued in 1937 by George Pope Morris (1802-1864), who adapted the words, and
larles Edward Horn (1786-1849), British composer and singer, who arranged the music from an anonymous, original
nstrel time. Copland composed "The Dodger" according to how it was sung by Mrs. Emma Dusenberry of Mena,
kansas, who learned it in the 1884 Cleveland-Blaine presidential campaign. The piano accompaniment of this last,
isterous song imitates the sound of a minstrel show banjo.
Special Thanks
>on would especially like to thank professors Tom Dumstorf, John Cross, and Jean and Jesper Christensen for their
/aluable coaching of new foreign languages: Russian, Finnish, and Swedish, respectively. He would like to thank
r. Daniel Weeks for his support as mentor, voice teacher, and encouraging Christian brother, and Mrs. Edith Tidwell
d Mr. Donn Everette for their constant support and advice in his pursuits performing and teaching at the University
Louisville. He would also like to thank his family, friends, and fiancee, Leslie, for their love and invaluable support
his growth as an artist.
School of
music
IMVERSITYof LOUISVILLE
dare to be great
presents
Matthew B. Smith, horn
student of Bruce Heim
with
Deborah Dierks, piano
Daniel Whaley, trumpet
Don Johnson, trumpet
Ian Carroll, trombone
Aaron Gaither, tuba
Graduate Recital
Monday Evening
April 24, 2006
8:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikeli / event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
s trictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sea Eagle
Adagio
Lento
Presto molto
Peter Maxwell-Davies
(b. 1934)
Horn Concerto in E-flat, K. 495
Allegro maestoso
Romance - Andante cantabile
Rondo - Allegro vivace
Wolfgang Amadeus Mozart
(1756-1791)
PAUSE
Divertimento
Introduzione
Aria di cantabile
Canzonetta
Jean Franqaix
(1912-1997)
Canto Serioso
Carl Nielsen
(1865-1931)
Contrapunctus IX
J. S. Bach
(1685-1750)
arr. Eberhard Ramm
Rounds and Dances
Jan Bach
(b. 1937)
The Ugly Monkey Brass Quintet
Dan Whaley, trumpet Matthew B. Smith, horn
Don Johnson III, trumpet Ian Carroll, trombone
Aaron Gaither, tuba
This recital is given in partial fulfillment of the requirements
for the Master of Music degree.
U w n Lock#
$2>°f<nn
Sea Eagle (1982)
Peter Maxwell-Davies (b. 1934)
Peter Maxwell-Davies has written a number of works for unaccompanied wind
instruments, including The Kestrel Paced Round the Sun for flute, First Grace of Light
for oboe, and The Seven Brightnesses for clarinet. Sea Eagle dates from 1982, and was
written for Richard Watkins, then principal horn with Davies' chamber ensemble, The
Fires of London. He gave the first performance at Dartington Summer School on August
16 that year.
Described by Gregory Cass as “diabolically difficult,” Sea Eagle demands the
utmost technical facility from the performer. The first movement begins slowly and
quietly, exploring the flexibility of the hom with large leaps and several quick flourishes.
Movement two is also a slow, contemplative work, demanding extreme control over the
softer dynamics, especially in the upper register. Movement three is evocative of the sea
eagle after its prey. And explosion of sound covering over three complete octaves
propels the sea eagle into flight, then diving to attack. The work ends with a soft stopped
note in the extreme upper register, as the sea eagle is lost in the clouds.
Horn Concerto in E flat, K.495 (1786)
Wolfgang Amadeus Mozart (1756 - 1791)
Mozart's K.495 stands as the most demanding of his four hom concerti. Written
for his friend, the internationally-known soloist turned cheese-monger, Leutgeb, this
concerto was completed on June 26, 1786. Written originally in four different colors of
ink, Mozart was thought to have been making some sort of joke toward Leutgeb, as he
was fond of doing. At times, Mozart even wrote derogatory remarks about Leutgeb in
the score, referring to the soloist as any number of unsavory names. However, research
has, in recent years, shown that the four colors of inks may have served as performance
guidelines for the interpreters of the work, possibly a sort of code for interpretation.
While this work does not approach the scale of his piano concerti, the form is
quite similar. The first and third movement allegros are sonata form, the third recalling
the horn's initial use as a signal for fox- hunts. The second movement romance is a slow,
lyrical movement making use of the elision, using the last note of one phrase as the first
note of the next phrase. The fist movement cadenza and third movement lead-in in
tonight’s performance are those of performer and scholar Robert Levin.
Divertimento (1953)
Jean Francaix (1912-1997)
Francaix, a student of Nadia Boulanger, began his musical life under the tutelage
of his father, a musicologist, composer and pianist. Composing his first work at the age
of six and having his first publication at the age of ten, the young Francaix caught the
attention local composers who directed him to his famed teacher, Boulanger. Maurice
Ravel is quoted as saying of the young boy, "Among the child's gifts I observe above all
the most fruitful an artist can possess, that of curiosity: you must not stifle these precious
gifts now or ever, or risk letting this young sensibility wither."
Written in 1953 for horn and piano, the very nature of this work is, overall, very
light-hearted and fun, but surprisingly difficult. Later scored for horn and orchestra in
1958, the Divertimento consists of three movements. The first and third movements are
both very quick and witty, with many punctuated notes thrown in the middle of a light
phrase. The second movement is slower, with long, legato phrases, descending into the
lower register of the hom at the end.
Canto Serioso (1913)
Carl Nielsen (1865-1931)
There has been some contention concerning the origins of this work for horn and
piano. Although it has been thought that this work was originally written in the 1920’s
for the cello, Wilhelm Lansky-Otto, father of hom soloist lb Lansky-Otto gives this
account:
On the basis of style, it is obvious that the piece belongs to an early period. Many
details are clearly related, for example, to the opera Saul and David (1901) or to the
orchestral work Saga-drom (1908). On the other hand, Carl Nielsen himself arranged
the piece for cello and piano (possibly in the twenties). This version is published by
Skandinavisk Musikforlag, although it did not appear until 1944, i.e. long after Nielsen’s
death. On its origin, I can add the following details: my piano teacher at the
Conservatoire was in his youth a close friend of Cal Nielsen’s and had for many years
helped him, for example, with piano arrangements of his orchestral works or — in urgent
circumstances - with clean copies of scores. Once, during the course of a piano lesson in
the horn of Henrik Knudsen, the latter showed he manuscript in pencil of a piece for horn
and piano (I played the horn too) and I took the music home with me. It had no title
(Canto Serioso is therefore a later invention). I corrected a few mistakes and returned
the manuscript to Knudsen. This happened after Nielsen’s death (either in 1932 or 1933)
and since Nielsen had not thought of publishing the piece I assumed that I was respecting
his wishes and did nothing more about the matter. According to Henrik Knudsen’s
account of the origin of the piece, it was written for a special purpose. From 1908 until
1914 Nielsen was conductor of the Royal Danish Orchestra in Copenhagen, and on the
occasion of an audition for the post of second or fourth horn he wrote this music as a test
piece for a low horn player, to see how, as Knudsen quotes Nielsen, the applicants
managed a few “arpeggios and difficult intervals, the tone in the bottom register, musical
understanding, etc. ” The origin of the piece was nothing more serious than this, but it
was certainly right to rescue it from oblivion. It is definitely worth playing.
Contrapunctus IX from The Art of the Fugue (1742)
Johann Sebastian Bach (1865-1750)
Arr. Eberhard Ramm
Bach's An of the Fugue , a work to be both studied and played, was first published
by his son C.P.E. Bach in 1751, arranged for the harpsichord or organ. Falling out of
favor due to its use of the open score, as well as its "excess of art", Bach's music was lost
in obscurity for nearly a century. Bach was introduced to Mozart and Beethoven by
Baron von Sweiten, who performed Bach's works in his Sunday salons in Vienna, but it
was not until the mid-nineteenth century that a revival of Bach's works began, thanks to
composers Felix Mendelssohn and Robert Schumann. Not until then did Bach's works
begin to find themselves on concert programs.
This arrangement by Eberhard Ramm is part of the Aardworks collection, which
includes arrangements of Dvorak, Elgar, Handel, Holst, Mendelssohn and Mozart, as well
as many others. This contrapunctus is one of many Ramm arrangements of Bach’s
music, including arrangements for brass quintet, hom octet, saxophone quartet and large
brass ensemble.
Rounds and Dances (1980)
Jan Bach (1937)
A performer on piano and hom, Jan Bach's composition teachers have included
Roberto Gerhard, Aaron Copland, Kenneth Gaburo, Robert Kelly, and Thea Musgrave.
A native of Illinois, Bach studied at the University of Illinois in Urbana-Champaign,
receiving his DMA in Composition in 1971. From 1966 until his retirement in 2002,
Bach was a professor of theory and composition at Northern Illinois University in
DeKalb. Bach has won many awards, including the Koussevitsky award at Tanglewood
(1961), first prize at the first International Brass Congress in Montreux, Switzerland
(1974), first prize in the New York City Opera competition for a one-act opera (1980),
and one of Northern Illinois University's eight Presidential Research Professorship grants.
His works have been recommended for a Pulitzer Prize in music five times. Bach has
also composed concerti for harp, hom, euphonium, steelpan, trumpet, tuba, piano, as well
as a concertino for bassoon.
From the composer
Rounds and Dances was a joint commission by the four principal American brass
organizations and was composed during the summer of 1980. It received its premieres in
1981 at both the National Trombone Workshop in Nashville, Tennessee (by the Eastman
Brass Quintet) and the International Trumpet Guild convention in Boulder, Colorado (by
the University of Wisconsin Brass Quintet). It is a suite of five short movements
conceived primarily in terms of the ensemble rather than the individual parts.
The fourth movement is canonic in nature: in Idyl the instruments enter in
ascending order from the tuba's opening solo. The Idyl is quiet and introspective, with a
"long line" that builds steadily to a climactic outcome. The Galop finds its source in
aeneric dance forms of Europe and South America. "Fast and fleet," the Galop is the
quickest movement of the set, poking gentle fun at Rossini among other composers of
Allegro movements.
music
IMVERSIIYof LOUISVILLE
0* --
dare to be great
presents
Matt Yarborough,
trombone and voice
student of Brett Shuster
with
Alexis Marsh, alto saxophone
Brian Koning, trumpet
Sam Farley, piano
Jason Foureman, bass
Dan Dorff, drums
Graduate Recital
Monday Evening
April 24, 2006
8:30 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Pleas e silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
You're My Everything (1931)
Harry Warren
Songo de Brevard (2003)
Matt Yarborough
Lament (1954)
J. J. Johnson
When the Saints Go Marching In (1896)
James M. Black
Katherine E. Purvis
All Blues (1959)
Miles Davis
Proudly Wave the Tattered Flag (2005)
Matt Yarborough
Crusaders (2004)
Matt Yarborough
Beautiful Friendship (1956)
Donald Kahn
lyrics by Stanley Styne
Summertime (1935)
George Gershwin
Ira Gershwin
This recital is given in -partial fulfillment of the requirements
for the Master of Music degree.
I want to publicly thank all of the musicians and caring mentors who have
helped and guided me in my studies in Louisville and Charlotte. There have been
too many to list, but know that I love you all and appreciate all of the kindness!!
It has been a true pleasure getting to know all of these musicians during my studies
at the University of Louisville. We have developed a solid musical bond exemplified in
our interaction and love for the music and each other. We hope you enjoy our concert.
Thank you for spending your evening with us.
PROGRAM NOTES
You're My Everything Harry Warren
The concert will begin with this joyful swinging tune in C major, long one
of my favorite tunes from the prolific 1930s and 1940s American
songwriters' era. Harry Warren frequently joked about his lack of recog¬
nition, though puzzling because he had a record 42 songs in Your Hit Parade's
top ten, nine more than the next composer — Irving Berlin. Among
Warren's amazing list of well known jazz standards are "I Only Have Eyes
for You," "Lullaby of Broadway," "At Last," and "There Will Never Be
Another You." He also composed "Serenade in Blue," "Chattanooga Choo
Choo," and "I Had a Gal in Kalamazoo" for the immensely popular Glenn
Miller orchestra in the early 1940s. The grad combo performed "You're My
Everything" on our recent tour of the Baltic.
Songo de Brevard Matt Yarborough
I composed this tune during my first trip to the Manhattan School of Music
jazz institute at Brevard, NC. That was an inspiring two weeks during
which time I realized that I could "hang" on the bandstand with some of
the finest young jazz musicians of my age. All of them were also accom¬
plished composers, and I was encouraged to write my first real tune. I chose
to use the form and model chord changes to "So What."
Lament J. J. Johnson
This tune has become one of my favorite ballads. Here it is my tribute to
the father of the modern jazz trombone, J. J. Johnson, one of the first
musicians to ignite my passion for jazz and the trombone. I play "Lament"
with a loving respect for J. J. as a man and musician, and with true sadness
at his passing.
When the Saints Go Marching In James Black/ Katherine Purvis
Here is a great traditional song from the early jazz era. I decided to perform
it in tribute to New Orleans as we keep alive the heritage of that colorful
city and its place as a historically and culturally significant landmark. We
will welcome Alexis Marsh and Brian Koning to the stage for this tune.
All Blues Miles Davis
"All Blues" is a blues from the famous 1959 album Kind of Blue, in the key
of G and in 6/8 time. I have always enjoyed this blues for its open feel and
improvisatory possibilities. My interpretation of the melody is based on
the original recording, but is given my individual twist as with all tunes
I play.
Proudly Wave the Tattered Flag Matt Yarborough
This, my first and only digital composition, was created in Digital Tech¬
niques class this past fall semester. The piece is a political commentary on
the state of America and the world as the current administration is guiding
it. I decided to give the opening section a disjointed and fairly lame hip-hop
groove to represent the lack of balance and missteps of the past couple of
years. I wrote the poem nearly from start to finish in about fifteen minutes
late one night. It came to me as I lay trying to fall asleep with the upheaval
of the events of last summer and fall churning in my mind. I heard the lines
of the poem in complete segments in a rare moment of true inspiration. It
was as if I was compelled to set these words in a form that could be shared
with the world. Thankfully I listened and acted.
Crusaders Matt Yarborough
Composed as a commentary on the preemptive war in the Middle East, this
piece represents the military and social arrogance that the world has come
to associate with America. It also represents my deep sadness for the
unnecessary pain and suffering that have been a result of the violence, and
my hopefulness for a more enlightened future. I hope to reflect those
feelings in my treatment of the melody and improvisation. The snare drum
introduction is reminiscent of a military march with a funky twist. Next
enters the bass with an ostinato that has the swagger of a walking camel
in the desert. The melody, with its arrogant vibe of superiority, makes
prominent use of the \,9 in the bridge - a sound common in Middle Eastern
music.
Beautiful Friendship Donald Kahn/lyr. by Stanley Styne
Jason Foureman and I will perform this tune as a duo. "Beautiful Friend¬
ship" is one of our favorite tunes and it will be a thrill to perform it in this
setting. Jason has been one of my dearest friends from the past two years.
We have shared some powerful musical and personal moments and I love
him as a brother. The Carolina boys will get 'er done!!
Summertime George Gershwin/Ira Gershwin
George Gershwin is one of the twentieth century's most revered compos¬
ers. Despite his premature death at 38 his output is outstanding. By 1913
he was working as a pianist and in 1917 became a staff composer for a
publishing firm. There were many "firsts" for Gershwin: the first to
combine serious and popular music in his jazz concerto. Rhapsody in
Blue" (1924); and the first to score a Pulitzer Prize-winning musical. Of Thee
I Sing (1931), which was one of the Gershwin brothers' "serious musicals
employing social satire. The brothers wrote Porgy and Bess in 1935, which
was further distinguished by its all-black cast its roots in African-
American culture, and hits such as "Summertime. We have given
classic old tune a face-lift with a rhythmically open feel andrnodern
improvisatory techniques. The arrangement was a collective effort on our
recen, tour of the Baltic regioa 3
Xf-W of^r— inspiration Id a positively npiifdng and
infectious vibe! Long live the universal language..
School of o
music
IMVERSIlYof i puisvim;
dare to be great
presents
Saturday, April 29, 2006 Suzuki Group Concert
1:00 p.m. Florence Pilkinton, accompanist
Margaret Comstock Concert Hall
Meditation from Thais
J. Massenet
Concerto for Two Violins, First Movement
J. S. Bach
La Cinquantaine
Gabrielle-Marie
Gavotte in G Minor
J. S. Bach
Witch's Dance
N. Paganini
Hunter's Chorus
C. M. von Weber
Allegretto and Andantino
S. Suzuki
Perpetual Motion
S. Suzuki
Allegro
S. Suzuki
Long, Long Ago
T. H. Bayly
Lightly Row
Folk Song
Twinkle Variation A
S. Suzuki
Pre-Twinkle Demonstration
Czardas
V. Monti
Concerto in A Minor, First Movement
A. Vivaldi
Skip to My Lou
arr. W. Starr
Aura Lee
Poulton, arr. W. Starr
Minuet 3 (Book 3)
J. S. Bach
Musette
J. S. Bach
The Happy Farmer
R. Schumann
May Song
Folk Song
Go Tell Aunt Rhody
Folk Song
Song of the Wind
Folk Song
Twinkle Theme and Variations
S. Suzuki
Students of
Hiroko Driver-Lippman
Mary Illback
Judy Pease-Wilson
Franzeli Sharp
School of
music
IMVERSHY of KXJISVILLE.
dare to be great
presents
Erin Cassel, cello
student of Paul York
with
Cary Cobb, piano
and
Nicole Boguslaw, cello
Student Recital
Sunday Afternoon
April 30, 2006
4:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Suite No. 3 in C Major, BWV 1009
Prelude
Allemande
Courante
Sarabande
Bourree I - Bourree II
Gigue
Cello Concerto in E Minor, Op. 85
Adagio - Moderato
PAUSE
Klid ("Silent Woods"), Op. 68
Sonata in C Major
Op. 14, No. 6
Legerement
Courante
Sarabande
Gigue
for Two Cellos, Joseph
J. S. Bach
(1685-1750)
Edward Elgar
(1857-1934)
Antonin Dvorak
(1841-1904)
Bodin de Boismortier
(1689-1755)
UNIVERSITY of IDUISVILLE
"" - -
dare to be great
presents
Preparatory
Department
Recital
students o/Christopher Douglas
and Drew Foley
Sunday Afternoon
April 30, 2006
3:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thankyou
PROGRAM
Sonata, Opus 36, No. 1 Muzio Clementi (1752-1832)
I. Allegro
II. Andante
III. Vivace
Maddie Wilcke
The Inchworm
Russian Sailor Dance
Nancy & Randall Faber
Traditional, arr. Faber & Faber
Mridul Bansal
Canario
Staccato Caprice
Lorena Sistig
Joachim Von der Hofe
Willard A. Palmer
Rodeo
The Opposite Song
Peter Hurst
Faber & Faber
Faber & Faber
Russian Sailor Dance Traditional, arr. Faber & Faber
Twinkle, Twinkle, Little Star Traditional, arr. Faber & Faber
Sam Wilson
A Sixteenth-Century March Willard Palmer/Amanda Lethco
Dance Cornelius Gurlitt (1820-1901)
Anisha Datta
Lullaby and Goodnight Faber & Faber
Russian Sailor Dance Traditional, arr. Faber & Faber
Christopher Hurst
Francesco Molino (1775-1847)
Faber & Faber
The Spanish Guitar
Young Hunter
Hayley Stewart
Variation on a Theme by Mozart Wolfgang Amadeus Mozart
(1756-1791)
March of the Gnomes Martha Mier
Adriana Sistig
Square Dance
Song for a Scarecrow
Noah LeClaire
Faber & Faber
Faber & Faber
Soccer Victory
Alarm Clock
Amanda Lifson
Nancy Faber
Faber & Faber
Over the Rainbow
Singin' in the Rain
Harold Arlen (1905-1986)
Nacio Herb Brown (1896-1964)
Bonnie Bruyneel
The Mermaid
The Bell Tower
Sydney Stewart
Faber & Faber
Faber & Faber
Leftover Popcorn
The Juggler
Faber & Faber
Mauro Giuliani (1781-1829)
Jenna Thomas
Evening Song
Allemande
Willard A. Palmer
Franz Joseph Haydn (1732-1809)
Caroline Mullins
Road Runner
The Woodchuck Chucks Wood
Naomi LeClaire
Faber & Faber
Faber & Faber
King Tut
Spanish Caballero
Brian Sokol
Dennis Alexander
Faber & Faber
Peppermint Rag
Faber & Faber
Lollipops' Waltz
Linda Niamanth (b. 1939)
Nicholas LeClaire
The Bear in the Forest, Op. 11, No. 6 Vladimir Blok (1932-1996)
March (Lydian Mode)
David Duke (b. 1950)
Adrianna Aviles
Minuet in C Major Op. 38, No. 4 Johann Wilhelm Hassler
(1747-1822)
Spooks
Clifford Poole (1916-2003)
Beth Mullins
A Little Song
Dmitri Kabalevsky (1904-1986)
Sonatina in C Major, Op. 157, No. 1 Fritz Spindler (1817-1905)
John White
Habanera (from the opera Carmen) Georges Bizet (1838-1875)
arr. Faber & Faber
Pink Panther
Henry Mancini (1924-1994)
Scott Zurkuhlen
To Fly Like an Eagle
Anne Crosby (b. 1968)
Promenade
Alexander Reinagle (1756-1809)
Christian Robinson
The Argument
Gordon A. McKinnon (b. 1952)
An Evening Tale
Aram Khachaturian (1903-1978)
Emily Furnish
Waltz of the Grapes
Naoko Ikeda
Emily Furnish and Maddie Wilcke
School of
music
LNIVERSIlYof LOUISVILLE
dare to be great
Preparatory Department
presents
Sunday, April 30, 2006 String Recital
1:30 p.m. Students of Carol B. Hughes
Malcolm Bird Recital Hall Florence Pilkinton, accompanist
Minuet II Johann Sebastian Bach
Hunters' Chorus Carl Maria von Weber
Neha Angal
Largo
Perpetuo Mobile
Brittany Waiters
Antonio Vivaldi
Carl Bohn
Song of the Wind
Kate Dutton
Folk Song
Bourree
George Frideric Handel
Elizabeth Spath
Minuet
Beth Mullins
Luigi Boccherini
TMl,
End of the Year Concert
Tuesday, May 2, 2006
Comstock Hall
U of L School of Music
Toniflirs Program
Green Onions
Straight. No Chaser
Waffle
Kentucky Oysters
Theme from "Peter Gunn"
r.S. Bach Invention No. 1
Bag's Groove/C -Jam Blues
Harlem Nocturne
Spain
The Lion Sleeps Tonight
Caravan
Low Rider/Qye Como Va
The 2005-2006 louisville leoparfl Percussionists
Advanced:
Beginners:
Mason Allen
Jadon Colbert
Sara Arbogast
Patty Culligan
Alexis Deddens
Ben Heckman
Jacob Doyle
Blake Heckman
Dakota Elzy
Kensey Flannery
Alex See
Miranda Flannery
Lydia Grossman
Cristen Flewellen
Helen Gustafson
Marvin Flewellen
Megan Handley
Brycen Lacey
Johnique Ison
Rebecca Leis
Alicia Kalbfleisch
Alice Liu
Jazmin Kellam
Emily Liu
Jack Lockard
Cooper Mannel
Bryce Mansfield
Kenna Markley
Grace McDaniel
Mark McDaniel
Parker McGuffey
Darrian Murphy
Price McGuffey
Carly Rodman
David Samwaru
Tahaza Shaw
Eliza Scruton
Beth Stivers
Josey Uebelhoer
Kaylyn Tyree
Claire Weaver
Brenna Williams
Nailah Williams
Cyr Wilson
Special thanks to Dr. Christopher Doane, Jerry Tolson, and our
friends at the Uof L School of Music for providing storage,
rehearsal, and recording space.
Some of LLP’s equipment has been provided courtesy of Pro-
Mark, Evans, Latin Percussion, Sabian, and Yamaha.
Finally, thanks to all the Louisville Leopard Percussionist parents,
grandparents, families, alumni, and fans. Without your ongoing
commitment and support, the group’s continued music making
would not be possible.
Diane Downs - Artistic Director
Brittany Lee - Assistant Director
Debbie Ater Smith - Secretary to the Director
2005-2006 Board of Directors
Lisa Willner - President
Elizabeth McDaniel - Vice President
Paula McGuffey - Treasurer
Patty Kannapel - Secretary
Craig Kalbfleisch - Member
Caren Flewellen - Member
John Scruton - Member
2005-2006 Advisory Board
Myra Friend Ellis - Louisville Metro Council
John Gage - Kentucky Theater Project
James Oetken - TMP/Monster Worldwide
Harry Pickens - University of Louisville
Jack Roby - University of Louisville
Matt Sandercock - General Electric
Rita Sasse - Public Radio Partnership
Debbie Shannon - Kentucky Center for the Arts
Jerry Tolson - University of Louisville
Thank you from the Leopards!
Kentucky Music Educators Association
State Concert Band
Festival
University of Louisville
Louisville, KY
Monday, May 8th, 2006
&
Tuesday, May 9th, 2006
Adjudicators:
Linda Hartley John Hendricks
University of Dayton West Virginia University
Dayton, OH Morgantown, WV
Terence Milligan
University of Cincinnati
Cincinnati, OH
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pa gers. Thank you.
Welcome
Dear Directors and Students:
Welcome to the2006Kentucky Music Educators Association State
Concert Band Festival! Many fine bands throughout our entire
state will be sharing performances that are the outcome of diligent
preparation and fine leadership. During the two-day festival we
will be hearing 30 concert bands, all aspiring to their finest
ensemble musicianship. Congratulations to all band members
and directors for showing such commitment to one another.
An outstanding panel of educators has been assembled to share
insight regarding the performances. It is my hope that this event
will be both exciting and educational for all of us.
Sincerely,
F rederick Speck, DMA
Director of Bands
KME A State Concert Band
Festival Manager
Monday, May 8th
9:30 AM
Rowan Co Senior HS Concert Band -Kevin Christie & David Fuller Grade V
Salute to the Colors
In Heaven's Air
Havendance
Bert Anthony & Karl King
Samuel Hazo
David Holsinger
10:00 AM
Bullitt East Concert Band - M. D. Jasper
The Gathering of the Ranks at Hebron
IAm
Grade IV
David Holsinger
Andrew Boysen, Jr.
11:00 AM
Conner HS Symphonic Band - Chris Peterson Grade VI
Valdres
On a Hymnsong of Lowell Mason
Tempered Steel
Johannes Hanssen
David Holsinger
Charles Rochester Young
1:30 PM
Rockcastle Co HS Concert Band - Greg Daugherty
An them for Winds and Percussion
Yorkshire Ballad
Fanfare and Toccata
Grade IV
Claude T. Smith
James Barnes
EdHuckeby
2:00 PM
Madison Southern HS - Barron C. Jones Grade IV
Florentiner Julius Fucik/Frederick Fennell
OvertureforWinds Charles Carter
3:00 PM
Calvary Christian HS Band - Mark Ziegler
West Highlands Sojourn
The Crosley March
3:30 PM
Grade IV
Robert Sheldon
Henry Fillmore
Madison Central Symphonic Band - H. Brent Barton
His Honor
On a Hymnsong of Philip Bliss
Africa: Ceremony, Song and Ritual
Grade V
Henry Fillmore
David Holsinger
Robert W. Smith
4:00 PM
Hart Co HS- Ed Johnson
As Summer Was Just Beginning
Where Never Lark or Eagle Flew
Grade V
Larry Daehn
James Curmow
4:30 PM
Louisville Male Concert Band - Nanette Moore
The Belle of Chicago
CorsicanLitany
Havendance
Grade IV
John Philip Sousa
Vaclav Nelhybel
David Holsinger
5:00 PM
Nelson Co Band - Kirk Norval McElroy
Bamum&Bailey's Favorite
Festivo
Grade IV
Karl King/Glenn Cliffe Bainum
Vaclav Nelhybel
5:30 PM
Louisville Male Symphonic Band - Nanette Moore Grade VI
Second Suite in F (IV) Gustav Holst
Whatsoever Things... Mark Camphouse
His Honor Henry Fillmore/Frederick Fennell
7:00 PM
Central Hardin HS Symphonic Band - David Centers Grade V
Caccia and Chorale Clifton Williams
Kaddish W. Francis McBeth
7:30 PM
Casey County High - Becky Lynn White
The Trombone King
On Angel Wings
Where the Black Hawk Soars
Grade IV
Karl King/John Paynter
EdHuckeby
Robert W. Smith
8:00 PM
Bardstown HS Concert Band - Matt Brown
Overture on a Shaker Tune
Hymn for Band
OfDarkLords and Ancient Kings
Grade III
John Higgins
Hugh Stuart
Roland Barrett
8:30 PM
Simon Kenton Wind Ensemble - Jason H. Milner
At Dawn They Slept
Hymn for a Child
Africa: Ceremony, Song and Ritual
Grade V
Jay Bocook
James Swearingen
Robert W. Smith
Tuesday, May 9th
9:00 AM
Bullitt Central Symphonic Band - Rodney Stults Grade IV
Salute to the Colors Bert Anthony and Karl King
An Irish Rhapsody Clare Grundman
9:30 AM
Jeffersontown HS Band - Shaun R. Popp
When the Stars Begin to Fall
Three Ayres from Gloucester
Grade IV
Fred Allen
Hugh Stuart
10:00 AM
West Jessamine HS Band - Steven Page Grade V
March of the Belgian Paratroopers Pierre Leemans/John Bourgeois
Rhosymedre Ralph Vaughan Williams
Pageant Vincent Persichetti
10:30 AM
Henry Co HS Wind Ensemble - Chip Anderson Grade IV
Overture to the Good Daughter Niccolo Piccini/Eric Osterling
Yorkshire Ballad James Barnes
Festivo Vaclav Nelhybel
11:00 AM
North Hardin Wind Symphony - Charles F. Campbell Grade VI
Toccata and Fugue in D Minor J. S. Bach/Eric Liedzen
Australian Up-Country Tune Percy Grainger/Glenn Cliffe Bainum
Blue Shades Frank Ticheli
1:00 PM
South Laurel HS Symphonic Band - Mark Sizemore
Suite for Bohemia
Overture on a Shaker Tune
Grade IV
Vaclav Nelhybel
John Higgins
1:30 PM
Barren Co HS Band — Dr. Kip Crowder
Chorale and Shaker Dance
On a Hymn Song of Philip Bliss
Themes from Green Bushes
Grade V
John Zdechlik
David Holsinger
Percy Grainger
2:00 PM
Bell Co HS Concert Band - William Risner
Grade III
Addison Way Ed Huckeby
Brookpark James Swearingen
2:30 PM
The Pride of Graves County - Jeff Williams & Jonathan Light Grade IV
Free World March Karl King/James Swearingen
Centennial Prelude Jan Van der Roost
3:00 PM
Daviess Co HS Wind Ensemble - Gordon E. Couch & Mike N. Clark Grade VI
Festive Overture Dmitri Shostakovich/Donald Hunsberger
Liturgical Dances David Holsinger
3:30 PM
Mason Co HS Concert Band - John J. Merz & Kristal Merz Grade V
Flourish for Wind Band Ralph Vaughan Williams
Cajun Folk Songs Frank Ticheli
The Thunderer John Philip Sousa
4:00 PM
Scott Co HS Symphonic Winds - Tom Brawner Grade VI
The Fairest of the Fair
Roman Carnival Overture
Zion
John Philip Sousa
Hector Berlioz/Safranek
Dan Welcher
4:30 PM
Madison Central Wind Ensemble — H. Brent Barton Grade VI
Festal Scenes Yasuhide Ito
Doxvn a Country Lane Aaron Copland
Red Cape Tango Michael Daugherty
5:00 PM
Middlesboro HS Concert Band - Suzanne Lee
Variation Overture
Americans We
Grade IV
Clifton Williams
Henry Fillmore
5:30 PM
Oldham Co HS Band - Brad Rogers
British Eighth
The Pearl Fishers
Concord
Grade V
Alonzo Elliott
Georges Bizet
Clare Grundman
School of
music
IMVERSIlYof IOUISVILLE
*** •
dare to be great
CLASS OF 2006
Saturday Afternoon
May 1 3, 2006
3:45 p.m.
Margaret Comstock Concert Hall
UNIVERSITY OF LOUISVILLE SCHOOL OF MUSIC
LOUISVILLE, KENTUCKY
PROGRAM
PRE-COMMENCEMENT Music Robert Boozman, organ, and Michael Tunncll, trumpet
Prelude
Allegro e non presto from Concerto in D Minor
Processional
Kommst du nun, Jcsu, vom Himmel heruntcr
Allegro from Concerto No. 2 in E-Jlat Major
Processional
Tune for Trumpet
Welcome and Introduction
Recognition of Emeritus Faculty
Mr. Melvin Dickinson, Professor Emeritus
Dr. Daniel McAninch, Professor Emeritus
Mr. Peter D. McHugh, Professor Emeritus
Dr. Acton Ostling, Jr., Professor Emeritus
Mr. Richard O. Spalding, Professor Emeritus
Dr. Loren Waa, Professor Emeritus
Dr. Robert Weaver, Professor Emeritus
Dr. Karl-Werncr Guempcl, Professor Emeritus
Dr. Paul R. Brink, Professor Emeritus
Commencement Address Paul R. Brink
former Associate Dean, Acting Dean, and Professor of Composition
Recognition of Graduates Anne Marie de Zeeuw
Jean Christensen
Christopher Doanc
Naomi Oliphant
Recognition of Recipient of 2005-2006 Provost’s Award Naomi Ohphant
for Exemplary Advising
Beth Loree, Academic Counselor Senior
Commencement Remarks Sowmya v . Snmrasan
Presentation of Student Awards Naomi Oliphant, Associate Dean
Christopher Doanc
Tomaso Albinoni
William Mathias
Johann Sebastian Bach
Christoph Forster
David N. Johnson
Christopher Doane, Dean
Closing Remarks
PRESENTATION OF STUDENT AWARDS
Prizes, Awards & Honors
2005 - 2006
Forty-Fifti i Annual Alumni Award
Virginie Achim
Omicron Delta Kappa Outstanding Graduating Senior Award
Sowmya P. Srinivasan
Helen Boswell Award in Music Education
Benjamin Dean Powell
Elections to Pm Kappa Pm National All University Honor Society
Virginie Achim
Rebecca Ruth Johnson
Korin Bethea Kormick
Jason Dennis Mallory
Benjamin Dean Powell
Alexander Hawkins Smith
Jessica DawnTowse
School of Music Senior Award
Virginie Achim
Amanda Ruth Adkins
Wendy Marie Frazec
Ashley Dawn Gutierrez
Justin Thomas Hornback
Amy Elisc Kothcimer
Heather Renae McCullum
for Academic Achievement
Benjamin Dean Powell
Sowmya P. Srinivasan
Amanda M.Taylor
Jessica DawnTowse
Lara Trimpe
Kathryn Suzannah Waters
Graduate Dean’s Citations
Korin Bethea Kormick
Jason Dennis Mallory
Matthew Thomas Yarborough
MTNA Student Achievement Recognition Award
Jason Dennis Mallory
Phi Mu Alpha Sinfonia Collegiate Honor Award
Robert David Jaggie
DEGREE CANDIDATES
Baci ielor oe Arts
Virginic Achim A
Anthony Z. Cckay *
James Elton Curry *
Tanya Renee Derringer
Adrian Z. Grow *
Ashley Dawn Gutierrez J Penelope Quesada *
John Marquis Antwoinc Harden II Sowmya P. Srinivasan •
JustinThomas Hornback J Kathryn S. Waters J' *
Heather Rcnac McCullum J ' 1
Evan Richard Pouchak
Bachelor of Music
Amanda Ruth Adkins J
Tyra Jcanninc Blashcr
Patrick Ian Carroll
Megan M. Fitzpatrick
Wendy Marie Frazee J
Robert Brian Glass *
Aaron Payne Jent
Amy Elisc Kotheimer J'
Jeremy J. Perry
Kristin Michelle Rochrig
Alexandra Tatiana Elisc Schaefer *
Benjamin Croft Sollce
Amanda M. Taylor J
Lara S.Trimpe J *
Tiffany Wilson
Bachelor of Music Education
Paul Douglas Mcccc, II *
William Thomas Mills, Jr. *
Benjamin Dean Powell • > *
Baci ielor of Music and
Jessica DawnTowse *
Bachelor of Music Education-
Master of Music
Robert Scott Adams
Myles B. Baumgardner
Carrie L. Baxter
Cary Andrew Cobb
Robert Edward Collier
David M. DeVasto
Daniel Joseph Dorff
Colin S. Dorman
Timothy Ryan Doughty
Anastasi A. Fafalios
Samuel B. Farley
Jason Richard Foureman
Daniel Leon Harrell
Joseph A. R. Hcaly
Robert David Jaggie
Matthew C. Janssen
Rebecca Ruth Johnson
Korin Bethea Kormick
Jason Dennis Mallory
Ryan C. McCaslin
Patrick T. MeGinthy
Autumn Marlane Pate
HanPill Ryu
JustinThomas Romney
Rebecca Lee von Kamp
Zhiyi Wang
Matthew Thomas Yarborough
Aaron Wade Young
* December 2005
J with honors > Mb high hmm »“* *"«“
j '“fsm usic
IMVERSITYof IOUISVILIE.
■»— 1 "" --
dare to be great
presents
Preparatory
Department
Honors Recital
Florence Pilkinton, accompanist
Saturday Afternoon
May 13, 2006
1:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones , electronic watches and pagers. Thnnkyou
PROGRAM
Ballade, Op. 100, No. 15 Johann Friedrich Burgmueller
(1806-1874)
Marion Taylor, piano
Student of Todd Ihrig
Sonatina, Op. 36, No. 1
Allegro
Andante
Vivace
Madlen Wilcke, piano
Student of Drew Foley
Muzio Clementi
(1752-1832)
Gavotte
Cruangning (Philip) An, violin
Student of Mary Hlback
F. J. Gossec
(1734-1829)
Dance in F
W. A. Mozart (1756-1791)
Pantomime
Miss Morgan Boyce, piano
Student of Dr. Connie Golden
Nancy Faber
Minuet
Beth Mullins, violin
Student of Carol Hughes
Luigi Boccherini
(1743-1805)
Starfish at Night
Anne Crosby (b. 1968)
Hide and Seek
Christine H. Barden
Lorena Sistig, piano
Student of Christopher Douglas
Concerto No. 5, First Movement
Lily Brandt Lyons, violin
Student ofFranzeli Sharp
Concerto No. 1 in G
Allegro
Meaghan Peak, flute
Student of Rebecca Johnson
Chorus from Judas Maccabaeus
Linda Mabrey, violin
Student ofPaola Manrique
Variations on the Name ABEGG, Op. 1
Cletus Amlung, piano
Student of Dr. DenineLeBlanc
Concerto No. 5 in A Major, First Movement
Elizabeth Trieu, violin
Student of Linda Starks
Sonetto 123 del Petrarca
John Holloway, piano
Student of Dr. Vernon Cherrix
F. Seitz
(1848-1918)
J. J. Quantz
(1697-1773)
G. F. Handel
(1685-1759)
Robert Schumann
(1810-1856)
W. A. Mozart
Franz Liszt
(1811-1886)
Presentation of Certificates
Upcoming Events at the School of M»siV.
(All events are admission free and held in Margaret Comstock Concert Hall,
unless otherwise noted. Events are subject to change.)
Saturday. May 13 - 3:45 p.m.
School of Music Commencement Ceremony
Sunday. May 14 - 7:00 p.m.
Portland Percussionists ( Malcolm Bird Recital Hall)
Monday. Mav 15 - 7:00 p.m.
Preparatory Department Piano Recital ( Malcolm Bird Recital Hall)
Friday. Mav 19 and Saturday. Mav 20 - 7:30 p.m.
University Dance Theatre presents its annual Spring Gala. The gala
will showcase ballet and modem works choreographed for and performed by
the pre-professional dancers in the University Dance Theatre. Featuring the
world premiere of a piece by UofL graduate composerShaun David Crowdus,
with choreography by Jessica Underwood. Tickets are $8 for general admis¬
sion, $6 for students and seniors. Group rates available. Tickets available at
the door. For more information, please call (502) 852-6878.
Sunday. Mav 21 - 7:00 p.m.
Alumni and Preparatory Department Faculty Recital: Amanda Boyd,
soprano
Tuesday. Mav 23 - 7:00 p.m.
The Kentucky Opera VISIONS program presents Nyiramachabelli.
(BomhardTheater, Kentucky Center, 501 W. Main St.) This world-premiere opera
by Danielle Post, based on the life of renowned gorilla researcher Dian Fossey,
features students from University Opera Workshop as well as the Louisville
Youth Choirand West Louisville Boys & Girls Choir. Admission is free and
open to the public.
Tuesday. Mav 30 - 7:00 p.m.
Suzuki Violin Graduation Recital (Malcolm Bird Recital Hall)
U of L Music Concert Line
PH: 502-852-0524
music.IouisviIIe.edu
School of
music
IMVERSITYof IOULSVILLE.
dare to be great
presents
Preparatory
Department
Recital
Students from the
Oldham County Fine Arts Center
Florence Pilkinton, accompanist
Saturday Afternoon
May 20, 2006
4:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thankyou.
PROGRAM
Lightly Row
Morgan Terwillinger, violin
Student ofPaola Manrique
Folk Song
Country Gardens
Traditional
Minuet in G
Danny Hajj, piano
Student of Todd Ihrig
J. S. Bach
(1685-1750)
Go Tell Aunt Rhody
Elisa Hill, violin
Student ofPaola Manrique
Folk Song
Aloha Oe
Queen Lilluokalani
Forest Drums
Nancy & Randall Faber
Quinten McFadden, piano
Student of Dr. Connie Golden
May Song
Emma Workman, violin
Student ofPaola Manrique
Folk Song
Chinese Dragon
Amazing Grace
Nancy & Randall Faber
Early American Melody
Brandon McFadden, piano
Student of Dr. Connie Golden
Song of the Wind
Skylar Hawthorne, violin
Student ofPaola Manrique
Folk Song
The Bugle Boys
Nancy & Randall Faber
Greensleeves
Traditional,
arr. by Aidan Jones
Aidan Jones, piano
Student of Dr. Connie Golden
Minuet
Maddie Wright, violin
Student ofPaola Manrique
J. S. Bach
Catch Me, If You Can Nancy & Randall Faber
Twinkle, Twinkle
Courtney Elizabeth Virg, piano
Student of Dr. Connie Golden
Traditional
Chorus from Judas Maccabaeus
G. F. Handel
(1685-1759)
Linda Mabrey, violin
Student ofPaola Manrique
Romance
Erin Konkhe, violin
Student ofPaola Manrique
N. Baklanova
(1902-1985)
Hunters' Chorus
Kelsey Recktenwald, violin
Student ofPaola Manrique
C. M. v. Weber
(1786-1826)
Theme from Witches' Dance N.Paganini
(1782-1840)
Amelia Smith, violin
Student ofPaola Manrique
Nancy & Randall Faber
Nancy & Randall Faber
Madeline Mullenbach, -piano
Student of Todd Ihrig
Gavotte from Mignon A. Thomas
(1811-1896)
Caitlyn Brown, violin
Student ofPaola Manrique
Minuet J. S. Bach
Anisha Datta, violin
Student ofPaola Manrique
Humoresque A. Dvorak
(1841-1904)
Mariah Hartoonian, violin
Student ofPaola Manrique
Ode to Joy L. v. Beethoven
(1770-1827)
Benjamin Tonkel, guitar
Student ofMarkMonfalcone
Gavotte I J- Bach
Christian Taylor, violin
Student ofPaola Manrique
Kite in the Sky
Forest Drums
IMVERSHYof L OUISVILLE .
dare to be great
presents
Amanda R. Boyd,
soprano
with
David George, piano
School of Music Alumni &
Preparatory Department
Faculty Recital
Sunday Evening
May 21, 2006
7:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other emergency, please walk
o eneares exi . e use of recording devices and flash photography is strictly prohibited. Please silence cell phones,
ELECTRONIC WATCHES AND PAGERS. Thank yOll.
PROGRAM
Arias from Giulio Cesare
Non disperar
E pur cosi in un giorno ... Piangero la sorte mia
Bei dir sind meine Gedanken, Op. 95, No. 2
Lerchengesang, Op. 70, No. 2
Geheimnis, Op. 71, No. 3
Das Madchen spricht. Op. 107, No. 3
PAUSE
Chansons de Ronsard
A une Fontaine
A Cupidon
Tais-Toi, Babillarde
Dieu Vous Gard'
Six Elizabethan Songs
Spring
Sleep
Winter
Dirge
Hymn
Diaphenia
George Frideric Handel
(1685-1759)
Johannes Brahms
(1833-1897)
Darius Milhaud
(1892-1974)
Dominick Argento
(b. 1927)
TEXTS AND TRANSLATIONS
Non disperar
Non disperar, chi sa?
se al regno non l'avrai,
avrai sorte in amor.
Not to Despair
Not to despair, who knows?
if you will not reign.
Your fate will be love.
Mirando una belta
in essa troverai
a consolar un cor.
Aiming to this beauty
you will find
consolation for your heart.
Piangero la sorte mia
E pur cosi in un giomo,
perdo fasti e grandezze?
Ahi fato rio!
Cesare, il mio bel nume,
e forse estinto
Cornelia e Sesto inermi son
Ne sanno darmi soccorso.
Oh Dio! non resta alcuna speme
al viver mio?
I will weep for my fate
Why then, in one day
I lose all my power and grandeur?
Oh grievous fate!
Caesar, my beloved idol,
is probably dead -
Cornelia and Sesto are defenseless
And cannot help me.
Oh God! Is there no hope
left in my life?
Piangero la sorte mia.
Si crudele e tanto ria,
Finche vita in petto avro.
Ma poi mortal d'ogn'intomo,
11 tiranno e notte e giomo.
Fata spettro agitero.
I will weep for my fate.
So cruel and brutal.
As long as there is life left in my body.
When I am dead and become a ghost
I will haunt him night and day.
As a ghost I will torment him.
Bei dir sind meine Gedanken
Und flattern, flattern um mich her;
sie sagen, sie hatten Heimweh,
Hier litt' es die nicht mehr.
With you are my thoughts
and they flutter, flutter around you;
They say they are homesick.
They will suffer being here no more.
Bei dir sind meine Gedanken
Und wollen von dir, von dir nicht fort;
sie sagen, das war' auf Erden
Der allerschonste Ort.
With you are my thoughts
And do not want from you, from you to leave;
they say that it is in all the world
The most beautiful place.
Sie sagen, unlosbar hielte
Dein Zauber sie festgebannt;
sie hatten an deinen Blicken
Die Fliigel sich verbrannt.
They say that you hold them inextricably
Your magic keeping me captive;
they have, by your glances
Their wings burned up.
Lerchengesang
Atherische feme Stimmen,
Der Lerchen himmlische Griifie,
Wie regt ihr mir so siifie
Die Brust, ihr lieblichen Stimmen!
Ich schliefie leis mein Auge,
Da ziehn Erinnemngen
In sanften Dammerungen
Durchweht vom Friihlingshauche.
The Lark's Song
Ethereal, distant voices.
The heavenly greetings of the larks,
How sweetly you move me
My heart, you lovely voices!
I softly close my eyes.
There pass memories
In soft twilights
Drenched in the breath of spring.
Geheimnis
O Fruhlingsabenddammerung!
O laues, lindes Weh'n,
Ihr Bliitenbaume, sprecht, was tut
ihr so zusammensteh'n?
Vertraut ihr das Geheimnis euch
Von uns'rer Liebe sufi?
Was fliistert ihr ein ander zu
Von uns'rer Liebe sufi?
Secret
0 spring's evening twilight!
0 mild, gentle breezes,
Blossoming trees, speak, what are you doing
standing so close together?
Do you confide the secret
of our sweet love to one another?
What do you whisper
of our sweet love to one another?
Das Madchen spricht
Schwalbe, sag' mir an,
Isfs dein alter Mann,
Mit dem du's Nest gebaut?
Oder hast du jiingst erst
dich ihm vertraut?
Sag 7 , was zwitschert ihr.
Sag', was fliistert ihr
des Morgens so vertraut?
Gelt, du bist wohl
auch noch nicht lange Braut?
The Maiden Speaks
Swallow, tell me.
Was it your old husband,
With whom you built your nest?
Or have you just recently
entrusted yourself to him?
Tell me what you twitter about.
Tell me what you whisper about
in the mornings, so confidentially?
Eh, you have probably
not been a bride very long?
A une Fontaine
Ecoute moi, fontaine vive,
En qui j'ai rebu si souvent
Couche tout plat dessus ta rive,
Oisif a la fraicheur du vent;
At a Fountain
Listen to me, fast fountain,
In whom I drank again more frequently
Lying all flat on your shore,
Lying dead at the coolness of the wind;
Quand 1'ete menager moissonne
Le sein de Ceres devetu,
Et l'aire par compas resonne
Gemissant sous le ble battu.
When the summer saves the harvest
The breast of Ceres undressed,
And the area by the sympathetic resound
Groaning under the beaten wheat.
Ainsi toujours puisses tu etre
En religion a tous ceux
Qui te boiront ou fairont paitre
Tes verts ravages a leurs boeufs.
Thus always draws you to be
By religion to all those
Who drink to you and make you graze
Your green shores to the ox.
Ainsi toujours la lune claire
Voie a minuit, au fond d'un val,
Les nymphes, pres de ton repaire,
A mille bonds, mener le bals.
Thus always the clear moon
The path at midnight, to the bottom of the valley.
The nymphs, near to your landmark.
To a thousand leaps, to lead the dance.
A Cupidon
Le jour pousse la nuit
Et la nuit sombre
Pousse le jour qui luit
D'une obscure ombre.
To Cupid
The day extends to the night
And the somber night
Extends to the day that shines
For an obscure shadow.
L'automne suit l'ete,
Et l'apre rage
Des vents n'a point ete
Apres l'orage
Autumn after summer.
And the harsh rage
Of the wind not at all in the summer
After the storm
Mais la fievre d'amours
Qui me tourmente,
Demeure en moi toujours,
Et ne s'alente.
But the restlessness of lovers
That torments me.
Resides in me always,
And doesn't sully one's reputation.
Ce n'etait pas moi, Dieu,
Qu'il fallait poindre,
Ta fleche en d'autre lieu
Se devait joindre.
This does not establish me, God,
That it is necessary to break
Your arrow in another place
It descends to unite.
Poursuis les paresseux
Et les amuse,
Mais non pas moi, ni ceux
Qu'aime la Muse.
Pursue the lazy
And the amusing.
But not to me, not the one
That loves the Muse.
Tais-Toi, Babillarde
Tais-toi, babillarde arondelle,
Ou bien je plumerai ton aile
Si je t'empogne, ou d'un couteau
Je te couperai la languette,
Qui matin sans repos caquette,
Et m'estourdit tout le cerveau.
Be Quiet, Babbling
Be quiet, babbling dove.
Or else I will pluck your wing
If I seize you, then with a knife
I will cut your tongue.
What morning without chatter.
And divert my thoughts all the mind.
Je te preste ma cheminee
Pour chanter toute la journee,
De soir, de nuit, quand tu voudras.
Mais au matin ne me reveille
Et ne m'oste quand je sommeille
Ma Cassandre d'entre mes bras.
Dieu Vous Gard'
Dieu vous gard', messagers fideles
Du printemps, gentes hirondelles,
Huppes, coucous, rossignolets,
Tourtres et vous oiseaux sauvages
Qui de cent sortes de ramages
Animez les bois verdelets.
Dieu vous gard', belles paquerettes.
Belles roses, belles fleurettes,
Et vous boutons jadis connus
Du sang d'Ajax et de Narcisse;
Vous soyez les bien revenus.
Dieu vous gard' troupe diapree
Des papillons, qui par la pree
Les douces herbes sugotez;
Et vous, nouvel essaim d'abeilles,
Qui les fluers jaunes et vermeilles
De votre bouche baisotez.
Cent mille fois je resalue
Votre belle et douce venue.
O que j'aime cette saison
Et ce doux caquet des rivages,
Au prix des vents et des orages
Qui m'enfermaient a la maison.
I squeeze your chimney
For singing all the day.
In the evening, in the night, when you desire.
But in the morning don't wake me
And don't remove me when I rest
My Cassandre in between my arms.
God Guard You (God Be With You)
God guard you, faithful messengers
In the spring, gentle swallows.
Hoopoes, cuckoos, nightingales,
Turtledoves and you wild birds
Who of one hundred kinds of warbles
Animate the greenwoods.
God guard you, beautiful daisies.
Beautiful roses, beautiful flowerets.
And you buds formerly known
And you, thyme, anis, and melissa,
You are the good returned.
God guard you multi-colored troop
Some butterflies, who of the field
The sweet grasses sucks;
And you, new swarm of bees.
Who the flowers yellow and Vermillion
Of your lips kisses.
A hundred thousand times I salute
Your beautiful and sweet arrival.
O how I love this season
And this sweet cackling on the shores
At the price of the winds and storms
Who kept me shut in my house.
LouisviCCe Suzuki Institute for Strings
Student and Faculty Recital
June 13,2006
Florence Pilkinton, Pianist
Allegro
Heath Scharf, Violin
S. Suzuki
Minuet 1
Sarah Davis, Violin
J.S. Bach
Andantino
Eleanor Elliott, Violin
S. Suzuki
Allegro
James Pack, Violin
S. Suzuki
Gavotte
Hope Leeper, Violin
F. J. Gossec
Witches Dance
Anthony Cho, Violin
N. Paganini
Minuet 3
Maxwell Evans, Violin
J.S. Bach
Chorus from Judas Maccabaeus
Olivia Harp, Violin
G.F. Handel
Humoresque
Roberto Bolli, Violin
A. Dvorak
Gavotte in D Pao 1 aVfanrkjue
Mackenzie Kelley, Violin
Concerto No. 5, l st movt. F* Seitz
Annie Scharf, Violin
Vivaldi Concerto in a minor, 1 st movt. A Vivaldi
Ames Evans, Violin
Souvenir di Sarasate Wm. H Potstoek
Rosemary Wilson, Violin
Appalachian Trio Mark AConnor
Brice Farrar Trio
Hungarian Concertino 0 Reiding
Timothy Durbin, Violin
International Association
of Schools of Jazz
16th Annual Jazz Meeting
June 25-30, 2006
University of Louisville
Louisville, Kentucky
UqfL
Jnmcy Aebcrsold
Jan Studies Program
ots UBS M-iiutsic
V* [ NMCRSITY of lOUL'MUJJ.
LNiVlvRSnYqf I QULSMI.Ii-:.
clarv to be grval
International Association of Schools of Jazz
16th Annual Jazz Meeting
June 25-30, 2006
University of Louisville School of Music
Louisville, Kentucky (USA)
Sponsors
UBS Financial Services
The Open \World Leadership Center at the Library of Congress;
suppoirt for the Open World Cultural Program is also
provided through partnership and funding from the
National Endowment for the Arts
Jam^s Ramsey, President - University of Louisville
Shirley C. Willihnganz, Provost - University of Louisville
Patfty Bailey, President - Louisville Jazz Society
irc/mey Aebersold and Jamey Aebersold Jazz
Christopher Doane, Dean - University of Louisville School of Music
Host
Michael Tracy, Director - Jamey Aebersold Jazz Studies Program
Assistants
Aaron Vowels
Alexis Marsh
Matthew Yarborough
Program Design and Layout
Korin Kormick
1
Table of Contents
Jerry Abramson, Mayor.
Advance Music.
Jamey Aebersold & Quartet.
Jamey Aebersold Jazz.
Jamey Aebersold Jazz Studies Program
David Baker.
Brazilian Ensemble.
Caris Music Services.
Christopher Doane, SoM Dean.
DownBeat.
ear x-tacy.
Gist Piano Center.
Friday Schedule .
the jazz factory.
Jazz Times.
JAZZIZ.
David Liebman.
Louisville Jazz Society.
Mifes Ahead Music.
Monday Schedule .
Open World Ensemble.
Otter Distributors.
Harry Pickens.•.
James Ramsey, UofL President.
SPONSORS.
Sunday Schedule .
Thursday Schedule .
Michael Tracy, Jazz Studies Director.
Tuesday Schedule .
UBS.•••■■_.
Walrus Music Publishing.
Wednesday Schedule .
.15
.19
. inside back cover
.24
.16
.22
.17
.6
. back cover
.18
...inside front cover
.23
.11
.12-13
.8-9
.23
.15
.10
.16
.23
.21
.22
.5
.1
.14
.22
.7
.19
.2
.21
.20
3
OFFICE OF THE MAYOR
LOUISVILLE, KENTUCKY
JERRY E. ABRAMSON
MAYOR
June 25, 2006
To All in Attendance
16th Annual Meeting
International Association of Schools of Jazz
Dear Friends:
As Mayor of Louisville, it is my great pleasure to welcome you to the 16th Annual Meeting
of the International Association of Schools of Jazz. Louisville is a place where North meets South
and East meets West, and we pride ourselves on having something for everyone.
Already known as a world-class city, Louisville is among the top twenty cities in the United
States. By unifying our community, we have now become not only the sixteenth largest city in the
country, but we believe one of the best as well. We are proud that our community has been recog¬
nized in many ways, including being named the seventh safest large city in America and rated as
one of the best 100 communities for young people.
Louisvillians are famous for their friendliness and warm hospitality, and our city has some¬
thing to offer everyone. Tour historic West Main Street and visit the Louisville Science Center, The
Frazier Historical Arms Museum or the world famous Louisville Slugger Museum. Louisville also
boasts the newly opened Muhammad Ali Center, the Louisville Zoo’s one-of-a-kind gorilla habitat,
the Louisville Orchestra and the country’s oldest running steamboat, The Belle of Louisville.
From the many museums and theaters to the first rate restaurants, 1 hope you will have a
spare moment during your conference to experience some of the many venues Louisville has to
offer, and 1 hope you will make plans to come back and visit us again.
Sincerely,
Jerry E. Abramson
Mayor
LOUISVILLE METRO HALL 537 WEST JEEEERSO.N STREET LOUISVILLE, KENTUCKY 40303 503.574.3003
4
0tjljk Office of the
%Sr PRESIDENT
LNIVERSITYof IOUISVILLE.
dare to he great
Dear Conference Participant:
It is an honor to welcome you to the University of Louisville for the Annual
Meeting of the International Association of Schools of |azz. We are very proud of
our )azz Program, as well as our School of Music, and hope you will have the
opportunity to experience firsthand the performances of our outstanding
students. Since 1977, we have hosted the ]amey Aebersold Summer |azz
Workshop, which attracts to our campus annually more than 800 students from
all over the world. The Workshop presenters are renowned founders and leaders
of the jazz education movement. It is a spectacular opportunity to hear jazz in its
formative as well as mature stage. The Aebersold Workshop, under the
leadership of Mike Tracy, has been a tremendous boost to the evolution of our
program.
UofL is delighted to host your organization, and while you are here in late |une,
please be our guests for Cardinal Baseball at Patterson Stadium or take a walk/
run around our Cardinal Park. The facilities of the University, as well as the
programs carried out in these facilities, are helping us achieve our vision of
becoming Kentucky's premier metropolitan research university. Jazz is already
one of our top tier departments and a major contributor toward our goal.
Our nearby University Club is a wonderful facility for lunch, dinner, or just an
afternoon break. We are also very proud of the park-like atmosphere of our
campus, and hope you have some leisure time to walk around. If you make your
way to Grawemeyer Hall, please stop by my office. I would enjoy having the
opportunity of welcoming you personally.
Good luck with your conference, and we look forward to sponsoring your group
again in the future.
Sincerely,
lames Ramsey
President, University of Louisville
5
■ SCHOOL OF MUSIC
UNIVERSITY of L OUISVILLE,
dare to be great
Unlvenity ol Louisville
Louisville. Kentucky 40292
Office 502-45J-W07
Fat: S02-JWJ-0520
*>rw louisvillc edu.muilc
On behalf of the Faculty, Students, and Staff of the School of
Music, it is my pleasure to welcome the international delegates
totheannual meeting ofthe International Association of Schools
of Jazz. The University of Louisville and the faculty of the jamey
Aebersold Jazz Studies Program are proud to host this important
event that brings together faculty, students and jazz artists from
around the world to meet and share ideas and experiences to
advance the study of Jazz as an international musical art form.
The Jazz Studies program at the University of Louisville has
played an important role in leading a resurgence in interest in
jazz in the region. Through affiliations with area jazz clubs and
professional and amateur music groups, hosting visiting jazz
artists, maintaining high levels of activity as performers,
arrangers, teachers, and composers, and establishing an
emerging presence in international jazz initiatives, the faculty
and students of the Jamey Aebersold Jazz Studies Program at
UofL have created a positive energy that celebrates jazz as
America's music.
We are very eager to share and learn from all the wonderful artists,
students and teachers who will devote their time and energy to
advance the teaching of jazz from an international perspective.
e welcome you all to Louisville and to our School of Music.
Cfu^topher Doane,
°ean, University of Louisville School of Music
6
Jamey Aebersold Jazz Studies Program
School of Music ° University of Louisville ° Louisville, Kentucky 40292
502.852.6907 (p) ° 502.852.0520 (f) ° jazz.louisville.edu
Serious about America’s music - JAZZ!
June 25, 2006
Greetings Everyone,
I want to welcome you to the University of Louisville School of
Music, home of the Jamey Aebersold Jazz Studies Program. I know
most of you have traveled great distances and encountered many
challenges so that you could attend the 16th Annual IASJ Meeting.
The IASJ Board, David Liebman, and I are very pleased that you
overcame these challenges and are here. You are in for an exciting
week of jazz performances, jam sessions, rehearsals, clinics, workshops,
and more. It is my hope that you will all leave here having made new
musical friends and that you will continue to stay in contact with each
other.
I would like to take this opportunity to thank everyone who has
helped to make the Meeting possible. A supportive thank you to our
sponsors: UBS, Open World Cultural Program, University of Louisville
President Ramsey and Provost Shirley C. Willihnganz, and Jamey
Aebersold Jazz. I thank Artistic Director David Liebman, IASJ Executive
Director Walter Turkenburg, and the IASJ Board for entrusting us to
host this very important event. Finally a very special thank you to my
administrative assistant Aaron Vowels; graduate assistants Alexis Marsh,
Matt Yarborough, and Jason Foureman; and publishing assistant Korin
Kormick, for this Meeting could not have taken place without their
long hours and patience.
I am looking forward to seeing old friends and meeting new
ones doing what we all love to do - playing jazz. I hope you have a
great time.
Sincerely,
Michael A. Tracy W
Director, Jamey Aebersold Jazz Studies Program
Professor of Music
0:00 a.m.
11:00 a.m.
1:00 p.m.
1:30 p.m.
3:00 p.m.
4:30 p.m.
6:00 p.m.
7:30 p.m.
10:00 p.m
Sunday, June 25 _
Opening Session
with David Liebman, Michael Tracy,
Walter Turkenburg, Naomi Oliphant
Margaret Comstock Concert Hall
Auditions
Locations TBA
Lunch
Form combos
Locations TBA
Ensembles or Ongoing Dialogues
Locations TBA
Teacher Rehearsal
Margaret Comstock Concert Hall
Reception
Sponsored by the Louisville Jazz Society
School of Music
Educators Concert
Margaret Comstock Concert Hall
Jam Session
School of Music Room 125/135
Steinway by GIST PIANO CENTER
14
1/ "vl
0:00 a.m.
10:30 a.m.
11:30 a.m.
1:00 p.m.
3:00 p.m.
6:00 p.m.
8:00 p.m.
Monday, June 26
General Session
Malcolm Bird Recital Hall
Lecture:
NEA Jazz Master David Baker
Malcolm Bird Recital Hall
Master Classes
Locations TBA
Lunch
Performance: Blue Grass meets Jazz
Masterson 's
Ensembles or Ongoing Dialogues
with David Baker
Locations TBA
Dinner
Masterson's
Jam Session
Galt House
Steinway by GIST PIANO CENTER
16
10:00 a.m. General Session
Malcolm Bird Recital Hall
10:30 a.m. Lecture:
Jazz Educator/Publisher Jamey Aebersold
Malcolm Bird Recital Hall
11:30 a.m. Master Classes
Locations TBA
1:00 p.m. Lunch
Performance: Jamey Aebersold Quartet
Masterson's
3:00 p.m, Ensembles or Ongoing Dialogues
Locations TBA
6:00 p.m. Dinner
Masterson's
8.00 p.m. Jam Session
The Jazz Factory
Steinway by GIST PIANO CENTER
19
Wednesday, June 28
10:00 a.m, General Session
Malcolm Bird Recital Hall
10:30 a,m. Ensembles
Locations TBA
11:30 a.m. Ensembles
Locations TBA
1:00 p.m. Lunch
Performance: Jam (open to everyone)
Masterson 's
3:00 p.m. Free Day
Churchill Downs, Louisville, etc.
6:00 p.m, Dinner
Masterson's
8:00 p.m. Jam Session
Spirit of Jefferson
Steinway by GIST PIANO CENTER
20
Thursday, June 29
10:00 a.m. General Session
Malcolm Bird Recital Hall
10:30 a.m. Lecture:
Pianist/Educator Harry Pickens
Malcolm Bird Recital Hall
11:30 a.m. Masterclasses
Locations TBA
1:00 p.m. Lunch
Performance: Brazilian Ensemble
Masterson 's
3:00 p.m. Ensembles or Ongoing Dialogues
Locations TBA
6:00 p.m. Dinner
Masterson's
8:00 p.m, Final Concert I
Free for meeting participants; $5 general admission
The Playhouse
Steinway by GIST PIANO CENTER
22
) _ Friday , June 30
10:00 a,m. General Session
with David Liebman
Malcolm Bird Recital Hall
11:00 a.m. General Assembly
Malcolm Bird Recital Hall
1:00 p.m. Lunch
Performance: Open World Ensemble
Masterson's
3:00 p.m. Ensembles or Jam Sessions
Locations TBA
6:00 p.m. Dinner
Masterson's
8:00 p.m. Final Concert II
Free for meeting participants; $5 general admission
The Playhouse
Steinway by GIST PIANO CENTER
23
Jamey Aebersold Jazz Studies Program
School of Music • University of Louisville • Louisville, Kentucky 40292
502.852.6907 (p) • 502.852.0520 (0 * jazz.louisville.edu
Jamey Aebersold
Ansyn Banks
Jim Connerley
Chris Fitzgerald
John La Barbera
Jason Tiemann
Jerry Tolson
Michael Tracy
Craig Wagner
Tyrone Wheeler
Faculty:
Lecturer (retired) - Jazz Improvisation
Lecturer - Trumpet, Jazz Ensemble
Lecturer - Piano
Lecturer - Jazz Theory, Jazz Class Piano,
Combo
Professor - Jazz Ensemble I, Trumpet,
Music Industry, Jazz Arranging/
Composition, Computers in Music
Lecturer - Drum Set
Associate Professor - Jazz Ensemble II,
Jazz History, Jazz Methods, Jazz Styles,
Combo
Professor / Program Director -
Jazz Repertoire, Combo, Saxophone
Lecturer - Guitar, Combo
Lecturer - Bass, Combo
The Jamey Aebersold Jazz Studies Program:
Serious about America's music - JAZZ!
I
Ijw
•|W Jan Studies
Jamey Aebersold
' Jaa Studies Program
UBS J^music
wivERsnY^ iajsviaE.
dare to be great
present
Final Concert I
of the
International Association of
Schools of Jazz
16th Annual Jazz Meeting
University of Louisville, Louisville, Kentucky
Thursday Evening
June 29,2006
8:00 p.m.
The Playhouse
PROGRAM
Luusunen
Pra que sofrer?
Chick Chack
Santo Antonio
Estamos ai!
Kalevi Louhivuori
Marcus Vinicius Almeida
Itai Weisman
Hermeto Pascoal
Mauricio Einhorn
Renato Vasconcellos/Rami Levin, teachers
Kalevi Louhivuori, trumpet (Finland)
Alexis Marsh, alto saxophone (Canada)
Itai Weisman, tenor saxophone (Israel)
Lawrence Fields, piano (USA)
Marcus Vinicius Almeida, guitar (Brazil)
Valentin Czihak, bass (Austria)
Tatu Ronkko, drums (Finland)
Beneath the Surface
Chateau Michaud
My Soul
Egypt
Chad Hockberg
Victor Michaud
Leonid Detzelman
Michaelis Katachanas
Gary Keller, teacher
Victor Michaud, French horn (France)
Rafael de Lima, alto saxophone (Brazil)
Johannes Salomaa, tenor saxophone (Finland)
Michaelis Katachanas, viola (Greece)
Leonid Detzelman, piano (Israel)
Ruben Samama, bass (Holland)
Chad Hochberg, drums (USA)
Walzer fOr Arietta
Stolen Moments
Rat Race
Peacocks
So What
Daniel Prandl
Oliver Nelson
Takuya Kuroda
Jimmie Rowles
Miles Davis
Jarmo Savolainen, teacher
Uwe Schmidt, vocals (Austria)
Takuya Kuroda, trumpet (Japan)
Godwin Louis, alto saxophone (USA)
Fabrizio Scarafile, tenor saxophone (Italy)
Daniel Prandl, piano (Germany)
John Estes, bass (USA)
Claudio Strueby, drums (Switzerland)
Steinway by GIST PIANO CENTER
International Association of Schools of Jazz
16th Annual Jazz Meeting
June 25-30, 2006
University of Louisville School of Music
Louisville, Kentucky (USA)
Sponsors
UBS Financial Services
The Open World Leadership Center at the Library of Congress;
support for the Open World Cultural Program is also provided
through partnership and funding from the
National Endowment for the Arts
James Ramsey, President - University of Louisville
Shirley C. Willihnganz, Provost - University of Louisville
Patty Bailey, President - Louisville Jazz Society
Jamey Aebersold and Jamey Aebersold Jazz
Christopher Doane, Dean - University of Louisville School of Music
Host
Michael Tracy, Director - Jamey Aebersold Jazz Studies Program
Assistants
Aaron Vowels
Alexis Marsh
Matthew Yarborough
Program Design and Layout
Korin Kormick
Jamey Aebcnold
jW Jan Studies Program
UBS tysmusic
INlVERSnYcfl OUlSVlUj;.
dorr to hr grvut
present
Final Concert II
of the
International Association of
Schools of Jazz
16th Annual Jazz Meeting
University of Louisville, Louisville, Kentucky
Friday Evening
June 30, 2006
8:00 p.m.
The Playhouse
PROGRAM
Giggin
Gregory is Here
You’d Be So Nice to Come Home to
I Have a Dream
Airegin
Ornette Coleman
Horace Silver
Cole Porter
Herbie Hancock
Sonny Rollins
Michael Stevens, teacher
Matt Yarborough, trombone (USA)
Ryosuke Asai, alto saxophone (Japan)
Marco Ferri, tenor saxophone (Italy)
Klaus von Heydenaber, piano (Austria)
Andrew Krazat, bass (USA)
Dominic Frey, drums (Switzerland)
Escapade Kenny Dorham
Louisville Blues Andrey Zaychikov
Duke Ellington’s Sound of Love Charles Mingus
The Day After Janne Halonen
The Madrig Speaks, the Panther Walks Eric Dolphy
Night Descends Philip Dizack
Klaus Lessmann/Steven Snyder, teachers
Philip Dizack, trumpet (USA)
Oz Landesberg, tenor saxophone (USA)
Andrey Zaychikov, tenor saxophone (Israel)
Jaume Gispert, piano (Spain)
Janne Halonen, guitar (Finland)
Kevin Lampson, bass (USA)
Tim Kirkwood, drums (Australia)
Distant Dream
Softly
Asperity
Reflex
Jason Miller
arr. Carlos Cuenca
Chris Ozer
Jason Miller
Mark Roberto, teacher
Peter McKenzie, alto saxophone (Australia)
Jason Miller, trombone (USA)
Chris Ozer, piano (USA)
Marcelo Jesuino, guitar (Brazil)
Luis Montanana, bass (Argentina)
Carlos Cuenca, percussion (Spain)
Jon Spindler, drums (USA)
Birth Celebration Juao Firmino
Valinta Teemu Takanen
Episode from a Village Dance Donald Brown
The Perpetrator Michael Philip Mossman
Afonso Dais de Sousa/Thomas Jerome, teachers
Piotr Schmidt, trumpet (Poland)
Teemu Takanen, alto saxophone (Finland)
Jose Maria Gongalves Pereira, tenor saxophone (Portugal)
Matt Hornbeck, guitar (USA)
Georg Schmelzer-Ziringer, bass (Austria)
Jake Reed, drums (USA)
Steinway by GIST PIANO CENTER
Special thanks to Pat Lentz.
Also to Jamey Aebersold, David Baker, and Harry
Pickens for their outstanding presentations.
International Association of Schools of Jazz
16th Annual Jazz Meeting
June 25-30, 2006
University of Louisville School of Music
Louisville, Kentucky (USA)
Sponsors
UBS Financial Services
The Open World Leadership Center at the Library of Congress;
support for the Open World Cultural Program is also provided
through partnership and funding from the
National Endowment for the Arts
James Ramsey, President - University of Louisville
Shirley C. Willihnganz, Provost - University of Louisville
Patty Bailey, President - Louisville Jazz Society
Jamey Aebersold and Jamey Aebersold Jazz
Christopher Doane, Dean - University of Louisville School of Music
Host
Michael Tracy, Director - Jamey Aebersold Jazz Studies Program
Assistants
Aaron Vowels
Alexis Marsh
Matthew Yarborough
Program Design and Layout
Korin Kormick
16 th Annual Jazz Meeting of the
International Association
of Schools of Jazz
Educators’ Concert
Hosted by David Liebman
June 25, 2006
(no program)
International Association of
Schools of Jazz
June 29 & 30, 2006
(no program)
Open World
Leadership Center
Studio Session
July 1, 2006
(no program)
CARDINAL SAXOPHONE WORKSHOP
July 16-23,2006
John S. Moore, Director
TRIO BEL CANTO
in residence
Patrick Meighan, alto saxophone John S. Moore, tenor saxophone
Krista Wallace-Boaz, piano
This summer will be the fifth year of the Cardinal Saxophone Workshop. This event will focus
on “classical saxophone” study and performance. All participants (including staff) will play in a
saxophone orchestra as well as various chamber groups. Soloists and small ensembles will
receive coaching by workshop faculty. Students will also be able to take advantage of a rare
opportunity: to play their favorite pieces with a professional pianist! There well be master classes
in chamber music and solo performance, as well as scheduled discussions of various topics that
will be helpful and informative, ie, breathing, practice, articulation, technique, literature,
overtones (high tones), mouthpieces, reed preparation and care of your saxophone.
Evenings will be filled with a variety of professional performances and the week culminates in
concerts by workshop participants. Other events of interest are under consideration. We are
looking forward to our week of camaraderie and giving you an opportunity to network with
saxophonists of all ages who love that “Sound of Sax” so much that they can never get enough!
The schedule for the week will be similar to the one on the back of this flyer. For more
information, and any updates contact, John S. Moore at-Sa x-m-Moore@juviP,cPtn , 270-617-3397
or inquire at the U of L booth at KMEA.
Faculty
John S. Moore, chamber music
Patrick Meighan, chamber music
Krista Wallace-Boaz, pianist
Mark Alan Taggart, conductor
University of Louisville
Indiana University Southeast
Florida State University
University of Louisville
East Carolina University
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
riday
9am
Large Ensemble Rehearsal
Rehearse
10:30
Break Break
Break
Break Break
as
needed
10:45
Fundamentals
Jazz
Styles Rascher
History
Movie
11:30
Large Ensemble Rehearsal
Large Ensemble Rehearsal
12noon L
U
N
c H
1:30
Chamber Music
Jazz
Chamber Music
Chamber
Improvisation
groups
rehearse
3:45
Break Break
Break
Break Break
4:00
Large Ensemble Rehearsal
Jazz
Masterclasses
Rehearsal
5:00
EVENING
MEAL
2pm
Final
Concert
7:00
•
8:00
John S. Moore &
Patrick Meighan &
Mike Tracy &
Krista Wallace-Boaz
1
Krista Wallacc-Boaz
Friends
ALL CONCERTS IN
Trio Bel Canto
Mysteiy Event
Chamber Musiq
Concert
COMSTOCK CONCERT HALL
School of •
music
IMVERSITYof IDUISVILLE.
-*
dare to be great
Cardinal Saxophone Workshop 2006
presents
John S. Moore,
tenor saxophone
and
Krista Wallace-Boaz, piano
Faculty Recital
Monday Evening
July 17, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thankyou.
PROGRAM
Sinfonia
Adagio
Allegro
Adagio
Allegro
Nicola Porpora
(1686-1768)
trans. Rascher
Music for Tenor Saxophone and Piano (1969)
J = 60
To the memory of Coleman Hawkins
J = 120
M. William Karlins
(1932-2005)
Elegie et Rondeau (1960)
Karel Husa
(b. 1921)
INTERMISSION
Tri Koncertrd Skladby (1966)
Allegro energico
Andante. Poco grave
Allegro assai
Karel Reiner
(1910-1979)
Aria (1930)
Jacques Ibert
(1890-1962)
Suite Hebrai'que
Cantorial Chant
Chasidic Dance
Hora
Lullaby
Dialogue
Circle Dance
Srul Irving Glick
(1934-2002)
School of
music
INIVERSITYof I0UISVILLE
-
dare to be great
Cardinal Saxophone Workshop 2006
presents
Patrick Meighan,
alto saxophone
and
Krista Wallace-Boaz, piano
Faculty Recital
Tuesday Evening
July 18, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event offire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Bagatellen (1938)
I. Elegie
IV. Gigue
Erwin Dressel
(1909-1972)
Sonata, Op. 99 (2004) *
I. Allegro moderato
II. Adagio lugubre
III. Allegro giusto
Salvador Brotons
(b. 1959)
*American Premiere
Traume (Dreams)
Richard Wagner
(1813-1883)
transcribed by F. Hemke
Singing the Sorrow
Marc Satterwhite
(b. 1954)
Rumba (1949)
Maurice Whitney
(b. 1909)
School of
music
INIVERSIlYof IDUISVILLE
dare to be great
Cardinal Saxophone Workshop 2006
presents
Trio Bel Canto
Patrick Meighan, alto saxophone
John S. Moore, tenor saxophone
and
Krista Wallace-Boaz, piano
Faculty Recital
Thursday Evening
July 20, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event office or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pacers. Thankyou
PROGRAM
LaFollia
Antonio Vivaldi
(1678-1740)
trans. Moore
Nocturne from Op. 83
Max Bruch
(1838-1920)
trans. Moore
Fantasy Trio, Op. 26
Allegro energico
Andante con espressione
Allegro deciso
Inrtoduction and Finale
Robert Muczynski
(b. 1929)
trans. Moore
INTERMISSION
Perambulations (1977)
John Boda
(1922-2002)
Mass Transit (1994)
Kent Marks
(b. 1964)
Two Pieces
Inviemo Porteno
La Muerte del Angel
AstorPiazzolla
(1921-1992)
arr. Bragato
trans. Moore
The inventor of the saxophone, Adolphe Sax, envisioned a symphonic role
for his instrument. His aim was to contribute a unique, multi-hued color
to the orchestral palette of the mid-nineteenth century. Embracing this
perspective, the Trio Bel Canto was founded in 1989 with the aim of
establishing the alto saxophone, tenor saxophone, and piano chamber
ensemble as a viable classical performance medium. To that end, the Trio
regularly performs music drawn from a diverse repertoire of original
compositions, arrangements, and transcriptions. Over a dozen American
and European composers have contributed to the repertoire of the Trio Bel
Canto and have found their works performed in concerts and festivals
throughout the United States. A 1992 Australian tour of Brisbane,
Melbourne, Perth, and Sydney was followed by the Trio's bronze medal¬
winning performance at the 1993 First International Chamber Music
Competition and Festa held in Osaka, Japan. Recent engagements have
included performances at the Festival Interamericano de las Artes 2003 in San
Juan, Puerto Rico; the 4 lh International Chamber Music Festival in Pristine,
Kosovo; the 2003 New Music Festival at The University of Louisville; the
Society of Composers, Inc. 2003 Region IV Annual Conference at Stetson
University; the World Saxophone Congress XIII in Minneapolis, Minnesota;
and the 2005 Biennial Festival of New Music at the Florida State University.
The Trio Bel Canto recently served as artists in residence at "Music at
Maplemount," a comprehensive summer music camp near Owensboro,
Kentucky.
PATRICK Meighan, Professor of Saxophone at The Florida State University
School of Music, was appointed the school's first artist-teacher of saxophone
in 1974. A native of Euclid, Ohio, Mr. Meighan has concertized extensively
as a soloist and ensemble recitalist, having appeared at music festivals and
on radio and television in Australia, Albania, Colombia, Croatia, Germany,
Japan, Kosovo, and Switzerland. Described in Musical America as "...most
exceptional...with an otherworldly tone and fluid technique...", his
engagements have taken him throughout the continental United States
(including Lincoln Center), Hawaii, Canada, South America, Europe, and
Puerto Rico.
Mr. Meighan has served as principal saxophonist with The Tallahassee
Symphony Orchestra, The Jacksonville Symphony, The Florida West
Coast Symphony, The Naples Philharmonic, and The New Sousa Band. As
a jazz/pop/rock instrumentalist, he has appeared with Sammy Davis Jr.,
Vic Damone, Larry Elgart, Joe Lovano, Steve Lawrence and Eydie Gorme,
Three Mo' Tenors, Johnny Mathis, Bernadette Peters, The Dells, The Fifth
Dimension, The Four Tops, The Jackson Five, and The Temptations. In 1973,
he was invited to join The Glenn Miller Orchestra. In 1998 and 2000, Mr.
Meighan was selected for the fifth and seventh editions of Who's Who Among
America's Teachers respectively. He has been the recipient of two FSU
Teaching Awards since 1995. His own saxophone studies include work
with Galan Krai, Larry Teal, and renowned saxophonist Sigurd Rascher.
He holds degrees from Bald win-Wallace College and The University of
Michigan.
JOHN S. Moore has served as saxophone instructor at The State Univer¬
sity of New York at Stony Brook, Campbellsville College, and The Univer¬
sity of Kentucky. Over the years, John has maintained a private studio; he
currently teaches at Indiana University Southeast in New Albany, Indi¬
ana and at The University of Louisville School of Music. For several years
he served as co-coordinator of chamber music at the Saxophone Institute
of The University of Transylvania, a summer camp for saxophonists of all
ages. In the summer of 2002, he organized the Cardinal Saxophone
Workshop, which is held on the campus of The University of Louisville. Mr.
Moore has performed professionally as a member of THE TRIO (alto, tenor,
and baritone saxophones). Trio Bel Canto, Aeolian Saxophone Quartet, The
Saxophone Sinfonia (eighteen saxophones). New York Chamber Saxo¬
phones (twelve saxophones), and The New Sousa Band. Described by
legendary saxophonist Sigurd Rasch&r as a "...first-rate musician with
remarkable technical control...," Mr. Moore was a semi-finalist in The
Concert Artists Guild International New York Competition. He has
performed in Australia, Canada, Japan, and throughout the United States
and has been recorded on Ethos Recordings, Golden Crest, Mars Hill
College Recordings, and Dinant Records.
Krista Wallace-Boaz serves as administrator and instructor in the
University of Louisville School of Music's Class Piano and Piano Pedagogy
Programs. In addition to her teaching career. Dr. Wallace-Boaz maintains
an active performing career as a soloist and chamber musician, participat¬
ing in concerts across the United States and Europe, including appearances
in Russia, Belgium, England, and Chicago's Dame Myra Hess national radio
concert series. One of the most respected saxophone collaborators in the
United States, she has served as staff pianist for the saxophone studios of
Dr. Lee Patrick at the University of Louisville and Dr. Frederick L. Hemke
at Northwestern University. Participation as staff pianist includes the
University of Louisville Saxophone Institute, Transylvania Saxophone
Institute, and the University of Louisville Cardinal Saxophone Workshop.
Joining the Trio Bel Canto in 2003, she has performed with the trio at the
North American Saxophone Alliance in Greensboro, North Carolina, the
World Saxophone Congress in Minneapolis, Minnesota, and most recently
in concerts in Fredonia, New York; Mansfield, Pennsylvania; Tallahassee,
Florida; and Maple Mount, Kentucky.
Dr. Wallace-Boaz holds a doctorate of music and master of music in piano
performance and pedagogy from Northwestern University, a bachelor of
music in piano performance from the University of Louisville, and three
certificates from the St. Petersburg Russia Piano Institute, completing
summer studies in piano at the St. Petersburg Rimsky-Korsakov Conser¬
vatory of Music. In addition to her teaching and performing career she is
active in MTNA and KMTA, currently serving as 2 n d Vice President and
Historian of the former. Other activities include Kentucky All-State
Keyboard Ensemble Co-Coordinator, 2004 United Metro Way Charities
Drive Unit Coordinator, new music reviewer for Clavier Magazine, and
principal pianist of the Jewish Community Center Orchestra.
School of
music
INWERSITYof IOUISVILLE
dare to be great
Cardinal Saxophone Workshop 2006
presents
Saxophone
Chamber Music
with
Krista Wallace-Boaz, piano
Saturday Evening
July 22, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonata, Op. 29 (1970)
Chris Mickel, alto saxophone
Robert Muczynski
(b. 1929)
Fantasia (1948)
Jim Dillon, tenor saxophone
Heitor Villa-Lobos
(1887-1959)
Divertissement (1953)
III. Scherzando
Pierre Max Dubois
(1930-1995)
Cory Bamfield, alto saxophone
Exhortation
Dwight Simpson
Alex Verdoom, alto saxophone
The Devil's Rag (1996)
Michael Grzelaczyk, alto saxophone
J. Matitia
(b. 1952)
Concertino de camera (1935)
Larghetto-Animato molto
Dannel Espinoza, alto saxophone
Jacques Ibert
(1890-1962)
Solar Dreams (1994) Jody Nag el
For solo instrument and electronic accompaniment (b. 1960)
Craig Sylvem, tenor saxophone
Prelude and Dance (2006)* Walter s . Hartley
(b. 1927)
Cory Bamfield, soprano saxophone
Dannel Espinoza, soprano saxophone
Liz Lyons, piano
intermission
*worldpremiere
Fugue in G Minor Johann Sebastian Bach
(1685-1750)
arr. R. E. Stanton
Nikki Jocz, soprano saxophone
Laura McNutt, alto saxophone
Nathan Duffy, tenor saxophone
Josh Warren, baritone saxophone
Outdoor Music
for saxophone quartet
Walter S. Hartley
Jim Dillon, soprano saxophone
Yosuke Kanii, alto saxophone
Sadie Biles, tenor saxophone
Ashley Bryant, baritone saxophone
Suite for saxophone quartet
Saxema (1920)
Valse Llewellyn (1917)
Rudy Wiedoeft
(1893-1940)
arr. Ted Hegvik
Kirsten Carlson, soprano saxophone
Doris Payne, alto saxophotie
Matt Reidinger, tenor saxophone
Sarah Sutter, baritone saxophone
Drastic Measures (1976)
II. Allegro
Russell Peck
(b. 1945)
Dannel Espinoza, soprano saxophone
Alex Verdoom, alto saxophone
Craig Sylvem, tenor saxophone
Rick Steuart, baritone saxophone
Enon Valley
I. Groove Apple
David Williams
Cory Bamfield, soprano saxophone
Kevin Ames, alto saxophone
Michael Grzelaczyk, tenor saxophone
Chris Mickel, baritone saxophone
School of •
music
IMVERSIIYof IOULSVILLE
1 ' — 1 —-
dare to be great
Cardinal Saxophone Workshop 2006
presents
Saxophone
Orchestra
featuring
Saxophone Workshop Participants
Sunday Afternoon
July 23, 2006
2:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you
PROGRAM
Aubade (1985)
Pas Redouble
Processional (2003)
Praeludium
Serenade for Saxophones (1991)
1. Pastorale: Allegretto
2. Tango: Andante con moto
3. Canzon: Lento, ma non troppo
4. Manchega: Allegro con brio
only rhythm and
Vision (1996)
Vigor (1995)
Walter S. Hartley
(b. 1927)
Camille Saint-Saens
(1835-1921)
Scott Foley Moore
(b. 1985)
Carl Anton Wirth
(1912-1986)
Walter S. Hartley
Mark Alan Taggart
(b. 1956)
Cardinal Saxophone Workshop 2006 Participants
Faculty and Guests
Walter S. Hartley, Composer
Patrick J. Meighan, Alto Saxophone
John S. Moore, Tenor Saxophone
Mark Alan Taggart, Conductor
Krista Wallace-Boaz, Piano
Charlotte, North Carolina
Tallahassee, Florida
Westview, Kentucky
Greenville, North Carolina
Georgetown, Indiana
Soprano Saxophones
Cory Bamfield
Dannel Espinoza
Louisville, Kentucky
Hollywood, Florida
Alto Saxophones
Kevin Ames
Kirsten Carlson
Nathan Duffy
Michael Grzelaczyk
Yosuke Kanii
Laura McNutt
Doris Payne
Sarah Sutter
Alex Verdoom
Syracuse, New York
Madison, Indiana
Floyds Knobs, Indiana
Louisville, Kentucky
New Albany, Indiana
Mt. Carmel, Illinois
Louisville, Kentucky
Hanover, Indiana
Orange City, Iowa
Tenor Saxophones
Sadie Lenore Biles
Jim Dillon
Chris Mickel
John S. Moore
Matt Reidinger
Louisville, Kentucky
Kennesaw, Georgia
Nitro, West Virginia
Westview, Kentucky
Floyds Knobs, Indiana
Baritone Saxophones
Ashley Bryant
Nikki Jocz
Patrick Meighan
Josh Warren
Newport, Tennessee
Plant City, Florida
Tallahassee, Florida
Louisville, Kentucky
Bass Saxophones
Rick Steuart
Craig Sylvem
Zephyrhills, Florida
Keene, New Hampshire
Piano
Liz Lyons
Syracuse, New York
School of
music
IMVERSITYof IOUBVILLE
dare to be great
Orientation
Convocation
Friday Afternoon
August 18, 2006
1:30 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music Building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Greetings
Dr. Christopher Doane
Dean
Introduction of Faculty, Staff, and Student Council
Applied Music Studies
Ensembles & Conducting
Prof. Paul York
Acting Division Head
Prof. Kimcherie Lloyd
Division Head
Jazz Studies
Prof.Mike Tracy
Division Head
Music Education/Music Therapy
Dr. Robert Amchin
Division Head
Music Theory/Composition
Dr. Steve Rouse
Division Head
Music History
Dr. Jean Christensen
Division Head
Music Library
Prof. Karen Little
Director
Administrative Staff
Ms. Deborah Hawley
Assistant to the Dean
School of Music Student Council
Cordia Thompkins
President
Announcements
Dr. Naomi Oliphant
Associate Dean
Friends of the School of Music
Rev. Richard Humke
President
Excerpt from Serendipity
Gold Medal Winning Film of the 2006
Score by Brad Ritchie, composer
Student Academy Awards
Named Scholarship Awards 2006-2007
GENERAL SCHOLARSHIPS
Evelyn M. Aldrich Scholarship
Christopher Camp Penelope Quesada Beard
Megan Gebert Gerome Stewart
Melissa McDaniel Michael Swope
Juan Carlos Ortega
Alumni Scholarship
Amy Knight Jacob Stith
Dwight Anderson Memorial Scholarship
Sharon Edmonds Alexandra Petersen
Clarence and Suzanne Claugus Scholarship
Krista Eifler
Dorothy Norton Clay Scholarship
Lindsay Pummell Alisson Reber
Brian D. Dudley Memorial Scholarship
Leah Simer
School of Music Endowed Scholarship Fund: Bingham Scholarship
Trent Barrick Barrett Smith
Brad Buehring Mihai Spin
Michael Burkhead Lauren Taylor
Chase Dabney Emily Ward
Felicia Hogan Thomas Zinninger
David Rowell
Bernard Flexner Scholarship
Kevin Arbogast Mary Katherine Schladand
Lyn Hall Adam Thomas
Emily Neubauer Brendan Vincent
Friends of the School of Music Scholarship
Elizabeth Alexander Wesley Sillaman
Matthew Byrum Elizabeth Wooldridge
Erin Cassel
Mr. And Mrs. C. J. Heilman Scholarship
Erin Keesy Amber Richeson
Alice Markiewicz
Louise Jones Hickman Scholarship
Nicole Boguslaw
Lt. Col. William T. Norman and Helen Payne Norman Scholarshi
Sarah Speck Carlisle Schoner
Margaret Muldoon Norton Memorial Scholarship
Frederick Speck Stephanie Bragg
Benjamin Owen Memorial Scholarship
Carolyn Fassio
Margaret Roecker Owen and Jean Russel Owen Scholarship
Jessica Niedwick
Presser Scholarship
Adam Yonkowy
Leon Rapier Memorial Scholarship
Joel Watson
Zudie Harris Reinecke Memorial Music Scholarship
Kate Reyman
Paul Schultz Endowed Scholarship
Daniel Reams
William Schwann Award
Gretchen Reiter
Sigma Alpha Iota Award
Mary Rada
Mary Macauley Smith Scholarship
Elizabeth Adams David Buchholz
Marlene Ballena Matt Greenwood
Margaret Gilbert Whitney Scholarship
Laura Campbell
BAND SCHOLARSHIP
Alfred Peltier Memorial Scholarship
Michelle Linder
BRASS SCHOLARSHIP
Herbert L. Koerselman Endowed Brass Scholarship
Charles Calloway Audrey Davis
CHORAL SCHOLARSHIP
Margaret S. Comstock Scholarship
Barrett Smith
COMPOSITION SCHOLARSHIPS
Warren Babb Scholarship
Nicholas Drake Adam Hardin
Nelson H. Keyes Memorial Scholarship
Aaron Stepp
TAZZ SCHOLARSHIPS
Phil Bailey Jazz Scholarship
Nathan McCoy
Anthony D. Gigante Memorial Jazz Scholarship
Jonathan Epley
Fr. Vernon Robertson Jazz Scholarship
Luke Barker
KEYBOARD SCHOLARSHIPS
Melvin D. Dickinson Award
Janet Tsai
Abby Abell Duncan Scholarship
Betsy Allen Barrett Wilson
Harrison and Emmie Booth Houston Scholarship
Barrett Wilson
Linda Joyce Koch Piano Scholarship
TBA
Lee Luvisi Scholarship in Piano
TBA
Terstegge Means Scholarship
Sarah Clark Sandra Duran
Jeremiah Coughlon
MUSIC HISTORY SCHOLARSHIP
Gerhard Herz Scholarship
Allen Gilfert David Rowell
MUSIC THERAPY SCHOLARSHIP
Joan McCombs Fund
Alane Hart Kimberley Texter
STRING SCHOLARSHIPS
Malcolm Bird Scholarship
Eliza Adams
Irene L. Dunham Scholarship
Jordan Lynem
Linda Joyce Koch Violin Scholarship
Scott Moore
Frances T. Roberts Scholarship
Erin Cassell
VOICE SCHOLARSHIPS
Charme von Bomhard Endowed Scholarship
Emily Ward
Mary Ann Cubranic Music Scholarship
Rianne Marcum
Linda Joyce Koch Voice Scholarship
Kelly Ballou
Fletcher Smith Memorial Voice Scholarship
Joshua Hamilton Justin Wilkey
WOODWIND SCHOLARSHIPS
Jack Crutcher Woodwind Scholarship
Michelle Linder
Facets Saxophone Scholarship
TBA
Charles and Marian Weisberg Music Scholarship
Chris Phillips
School of
m usic
INIVERSTIYqf I OUIS^IliJ':
darv to he great
Thursday, September 7, 2006 Faculty Gala Preview
3:00 p.m. Convocation
Margaret Comstock Concert Hall
Pre-Convocation Piping by Anne Marie de Zeeuw
Rondo in G Major W.A. Mozart/Fritz Kreisler
from Serenade, No. 7, K. 250 ("Haffner") (1756-1791)
I
J. Patrick Rafferty, violin
Krista Wallace-Boaz, piano
Passacaglia
£Z
Sylvius Leopold Weiss
(1686-1750)
David Walker, Baroque lute
Sonata No. 1 in C Minor, Op. 32
Andante tranquillo sostenuto
Z, ■
Paul York, cello
Naomi Oliphant, piano
Camille Saint-Saens
(1835-1921)
Slumber (2006)
#4
WORLD PREMIERE
Electroacoustic Music
John Gibson
(b. 1970)
Parmi verder le lagrime Giuseppe Verdi
from Rigoletto, Act I (1813-1901)
Disguised as a humble student named Gualtier, the Duke of Mantua gains the affection
ofGilda, daughter of the hunch-backed court jester, Rigoletto. After a tryst with the
lovely Gilda, the Duke returns to her house to find that she has been abducted. In this
scene, he enters his salon and laments that she has been stolen from him. He pictures her
in agony calling his name, but he is unable to come to her aid.
Daniel Weeks, tenor
Naomi Oliphant, piano
INlVERSHYc^ I OUISVILLE.
dare to be great
Fourteenth Annual
C 'faculty <^Q)ak
Concert
Sponsored by 0 $©UBS
Friday Evening
September 8 , 2006
8:00 p.m.
Margaret Comstock Concert Hall
Welcome to the University of Louisville !
We hope you enjoy the concert this evening.
Smoking is not permitted in the School of Music building. In the
unlikely event of fire or other emergency, please walk to the
nearest exit. The use of recording devices is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
Pre-Concert Piping by Anne Marie de Zeeuw and Larry Fredericksen
PROGRAM
Welcome from Dean Christopher Doane
Banks Hot (2006)
WORLD PREMIERE
Faculty Jazz Ensemble
Ansyn Banks, trumpet
Jerry Tolson, alto sax Mike Tracy, tenor sax
Craig Wagner, guitar Chris Fitzgerald, piano
Tyrone Wheeler, bass Jason Tiemann, drums
John LaBarbera
(b.1945)
Quartet No. 4 for Flute, Clarinet, Bassoon, and Horn
Allegro vivace
Kathleen Karr, flute
Tim Zavadil, clarinet
Matthew Karr, bassoon
Bruce Heim, horn
Gioachino Rossini
(1792-1868)
Passacaglia
David Walker, Baroque lute
Syvius Leopold Weiss
(1686-1750)
Slumber (2006)
WORLD PREMIERE
Electroacoustic Music
John Gibson
(b.1960)
The Resplendent Quetzal
Vernon and Nancy Cherrix, piano
Eric Ewazen
(b. 1954)
Rondo in G Major
from Serenade, No. 7, K. 250 ("Haffner")
J. Patrick Rafferty, violin
Krista Wallace-Boaz, piano
W.A. Mozart/Fritz Kreisler
(1756-1791)
Canzona Bergamasca
Samuel Scheidt
(1587-1654)
Louisvi lle Brass
Herbert Koerselman, trumpet
Michael Tunnell, trumpet Shuster, trombone
Bruce Heim, horn
t _ i_ t ~nps.
t-i ihn
Sidney King (b. 1959) and Gareth Jones (b. 1970)
Dos Flechas (Solea) ch preography and lyrics by Graciela Perrone (b. 1970)
al Sur, a flamenco ensemble
Graciela Perrone dance and vocals
Gareth Jo nes ' S u ^ ar
Sidney Kinf double hass
Brian Kushm au ^ percussion
INTERMISSION
Greetings from Richard Humke, President of the Friends of the School of Music
Io sono l'umile ancella Francesco Cilea
from Adriana Lecouvreur, Act I (1866-1950)
The character Adriana is actually based upon the great 18th-century French actress,
Adriana Lecouvreur. In this scene, Adriana enters, reciting her lines prior to a performance,
and, upon being complimented, she responds:
"I am just a humble servant of the creative spirit. .
Edith Davis Tidwell, soprano
David George, piano
The Swiss Shepherd p. Morlacci
(1784-1841)
Kathleen Karr, flute
Naomi Oliphant, piano
Konzertstuck, Op. 114 in D Minor Felix Mendelssohr
Allegro Grazioso (1809-1847
Dallas Tidwell, clarinet
Tim Zavadil, bassett horn
David George, piano
Quintet in Eb Major for Horn and Strings
Rondo: Allegro
Bruce Heim, horn
J. Patrick Rafferty, violin Jamie Hofman, violn
Charles Pikler, viola Paul York, cello
W.A. Moza:
(1756-179:
Concerto in D for Corno da Caccia
Moderato
Michael Tunnell, corno da caccia
Johann Gottlieb Graun (c. 1702-177
or Karl Heinrich Graun (c. 1703-175
Meme Tunnell, piano
Sonata No. 1 in C Minor, Op. 32
Andante tranquillo sostenuto
Paul York, cello
Naomi Oliphant, piano
Camille Saint-Sae
(1835-19:
Parmi veder le lagrime
from Rigoletto, Act I
Giuseppe Ve
(1813-191
Disguised as a humble student named Gualtier, the Duke of Mantua gains the
affection of Gilda, daughter of the hunch-backed court jester, Rigoletto. After a tryst
with the lovely Gilda, the Duke returns to her house to find that she has been abducted.
In this scene, he enters his salon and laments that she has been stolen from him.
He pictures her in agony calling his name, but he is unable to come to her aid.
Daniel Weeks, tenor
Naomi Oliphant, piano
P lease join us for a reception immediately following the concert.
ACKNOWLEDGMENTS
UBS Financial Services, Event Sponsor
WUOL 90.5 FM, Media Sponsorship
Angela Keene, School of Music Facilities Manager
Delta Omicron, Music Honors Fraternity, Ushers and Patron Assistance
Phi Mu Alpha Sinfonia, Music Honors Fraternity, Ushers and Stage Management
University of Louisville School of Music
Faculty
Administration
Christopher Doane, Dean
Naomi Oliphant, Associate Dean
Applied Music Studies Division
Keyboard
Robert Boozman, Organ
Vernon Cherrix, Piano
Brenda Kee, Piano
Karen Griffin, Class Piano
Naomi Oliphant, Piano
Krista Wallace-Boaz, Class Piano
Strings
Sidney King, Double Bass
)amie Hofman, Viola
). Patrick Rafferty, Violin
Marcus Ratzenboeck, Violin
David Walker, Guitar
Paul York, Cello
Voice
Donn Everette Graham, Baritone
Edith Davis Tidwell, Soprano
Daniel Weeks, Tenor
Woodwinds
Leanna Booze, Oboe
Don Gottlieb, Flute
Kathleen Karr, Flute
Matthew Karr, Bassoon
John Moore, Saxophone
Dallas Tidwell, Clarinet
Mike Tracy, Saxophone
Tim Zavadil, Clarinet
Brass
Bruce Heim, Horn
John Jones, Euphonium/Tuba
Herbert Koerselman, Trumpet
Brett Shuster, Trombone
Michael Tunnell, Trumpet
Percussion
Brian Kushmaul, Percussion
Ensembles & Conducting Division
Gregory Byrne, Cardinal Marching Band/Concert Band
Kent Hatteberg, Director of Choral Activities
Kimcherie Lloyd, Director of Orchestral Studies/
University Opera/Symphony Orchestra
Michael Ramach, Opera Workshop
Frederick Speck, Director of Bands/Wind
Symphony/New Music Ensemble
Jazz Studies Division
Ansyn Banks, jazz Trumpet
Jim Connerley, Jazz Piano
Chris Fitzgerald, Jazz Piano
John La Barbera, CompulerTechnology/Music Industry
Jason Tiemann, Drum Set
Jerry Tolson, Jazz History and Styles
Mike Tracy, Saxophone
Craig Wagner, Jazz Guitar
Tyrone Wheeler, Jazz Bass
Music Education Division
Robert Amchin
Doug Jones
Nam-Hee Lim
Alexis Paxton
Cheryl Schaefer
Music Therapy Division
Joy Berger
Shannon Bowles
Cheryle Lawrence
Brian Schreck
Barbara Wheeler
Music History Division
Jack Ashworth
Jean Christensen
John Kays
Sean Mulhall
Steve Noble
Seow-Chin Ong
William Plummer
Michael Ramach
Julia Shinnick
Michael Sprowles
Christopher White
Music Theory & Composition Division
Paul Brink
Paul Dell Aquila
Anne Marie de Zeeuw
Chris Fitzgerald
John Gibson
Leon Harrell
Steve Rouse
Marc Satterwhite
Friends of the School of Music
A volunteer, nonprofit organization founded in 1991 to support excellence and student scholarships in the
University of Louisville School of Music. The support of the following individuals is gratefully recognized
Membership July 1, 2005 - June 30, 2006
Mr. & Mrs. Robert Adelberg
Dr. & Mrs. Wilton |. Aebersold
Mr. William O.Alden.lr.
Mr. & Mrs. Stuart E. Alexander
Ms. Ann Stewart Anderson
Mr. Dwain ArcherS Mordean Taylor-Archer
Dr & Mrs. George R. Aronoff
Mr. & Mrs. Edwin I. Baer
Ms. Sara L. Bein
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Drs. Linda T Shapiro & Robert L. Taylor
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Mr. lohnSistarenik&Mr Andy Perry
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Mrs Virginia L Speed
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Mr Michael A. Tracy
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Dr. & Mrs. Tsu-Min Tsai
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Dr. & Mrs. Michael H Tunnell
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for investments salute the
people with an ear for music
We proudly salute
The University of Louisville,
School of Music Faculty
for its outstanding contribution to theatre arts
Frank Roccisano, Director
Branch Complex Manager
502-420-7677 800-222-1448
f ran kToccisanoStu hs.com
4801 Olympia Park Plaza, Suite 4000, Louisville, KY 40241
www-ubs.comr’financiabervicesinc
oiWUhliWJlWWHIK CIliqTftlKMXM t.vnVfMK
You* Us
music
INIVERSTIYof 10UISVILLE
dare to be great
presents
Michael Tunnell
trumpet, comet and
como da caccia
with
Meme Tunnell, piano
Faculty Recital
Sunday Afternoon
September 10, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you
PROGRAM
Concerto
Andante
Concerto in D
Moderato
Adagio staccato
Allegro
Alessandro Marcello
(1684-1750)
Johann Gottlieb Graun
(ca. 1702-1771)
or
Karl Heinrich Graun
(ca. 1703-1750)
Concerto in D
Allegro
Adagio
Allegro
Johann Georg Knechtl
(1734-1756)
INTERMISSION
Poem for a Fallen Hero (1997)
More Light (1995)
My Song of Songs
Joshua Swings the Battle
Stanley Friedman
(b. 1951)
Steve Rouse
(b. 1953)
Joseph Turrin
(b. 1947)
Stephen Bulla
(b. 1953)
BIOGRAPHY
Michael Tunnell has been Professor of Trumpet at the University of
Louisville School of Music since 1988 where he performs with Louisville
Brass and conducts the Trumpet Ensemble. The University of Louisville
awarded Tunnell the Distinguished Teaching Award in 2003. Tunnell
performs as Principal Trumpet and Principal Como da Caccia with the
Louisville Bach Society and as Auxiliary Trumpet with the Louisville
Orchestra. A founding member of the brass quintet Sonus Brass, Tunnell
has toured the Far East and South America with this group and as a soloist.
He also is a founding member of the Derby City Brass Band. In addition, he
is featured on the Mark Records CD Sonus Brass Captured and the Centaur CD
Louisville Brass: Season to Dance as well as five solo recordings: Mixed Doubles,
Melancholia, and Lumen, on the Coronet label, and Passages and The Morning
Trumpet on the Centaur label. He can also be heard on the Sinfonia da Camera
of Illinois recording of the Saint-Saens Septet and on numerous Louisville
Orchestra First Edition recordings. Tunnell is a former member of the
music faculties of the University of Southern Mississippi, SUN Y-Potsdam
College, the University of Illinois and the New England Music Camp.
Tunnell is a member of the International Trumpet Guild Board of Directors,
and he served as an editor for the ITG Journal from 1978-2000. In the
summer of 1999 Tunnell was a featured artist at Lieksa Brass Week in
Lieksa, Finland, and in July, 2001 he was a Visiting Professor at the Catholic
University of Chile in Santiago. He serves on the Artist Faculty of the
National Trumpet Competition and is an artist-clinician for Kanstul
Trumpets. Tunnell's degrees are from the University of Tennessee (Bach¬
elor of Music, 1976), The University of Louisville (Master of Music, 1978),
and the University of Southern Mississippi (Doctor of Musical Arts, 1982).
His teachers include Leon Rapier, Allan Cox, Arnold Jacobs, Adolph
Herseth and Armando Ghitalla. His students hold positions in prominent
colleges and orchestras, and they have enjoyed great success in numerous
solo competitions both in the United States and in Europe.
Meme Tunnell is Instructor of Piano and Music Theory at Bellarmine
University in Louisville, Kentucky, where she also serves as Staff Accom¬
panist and Director of Preparatory Music. She maintains a private piano
studio and is active as a chamber musician, adjudicator, and clinician, and
performs regularly with numerous solo artists throughout the United
States. Tunnell has performed as adjunct keyboardist with the Louisvile
Orchestra since 1988, and formerly was principal keyboardist for the
Meridian Symphony, Gulf Coast Symphony, and Champaign-Urbana
Symphony Orchestras, and the Sinfonia da Camera of Illinois. Tunnell's
recording credits include the Coronet Records CDs Melancholia, Lumen, and
the Centaur Records Passages with trumpeter Michael Tunnell, Mixed
Doubles with Michael Tunnell and tubist Fritz Kaenzig, both on the Coronet
label, and Chamber Music, featuring saxophonist Joseph Lulloff, on the
Veriatza label. Tunnell was President of the Greater Louisville Music
Teachers Association for the 1996-98 term and also served a term as
Kentucky Music Teachers Association Piano Chair. She is a former member
of the piano faculties at the University of Southern Mississippi and SUN Y-
Potsdam College.
Upcoming Events at the School of Music
(All events are admission free and held in Margaret Comstocfi Concert Hall,
unless otherwise noted. Events are subject to change.)
Monday. September 1 I - 8:00 p.m.
Faculty Ensemble: Louisville String Quartet presents works by Barber,
Lutoslawski, and Beethoven.
Friday. September 16 - 8:00 p.m.
Guest Recital: Dr. Leon Couch, HI, organ. Reception following.
Sunday, September 17 - 3:00 p.m.
Preparatory Department Faculty Recital: Denine LeBlanc, piano
Sunday, September 24 - 3:00 p.m.
Speed Endowed Recital Series: Francois Le Roux, baritone, withMikhael
Hallack, piano. Francois Le Roux is a winnerof international competitions in
Barcelona ("Maria Canals”), and Rio de Janeiro. He was a memberofthe Lyon
Opera Company from 1980 to 1985, and has since been a guest with all the
major European opera houses and festivals. Admission is free to members of
the Speed Art Museum; additional tickets may be purchased for $ 10 at the
door.
Tuesday, September 26 - 8:00 p.m.
Faculty Ensemble: Faculty Jazz Combo
Monday. October 2 - 8:00 p.m.
Preparatory Department Faculty and Guest Recital: Vernon and Nancy
Cherrix, piano
U of L Music Concert Line
PH: 502-852-0524
music.louisvilIe.edu
School of
music
IMVERSITYof IOUISVILLE
dare to be great
presents
The Louisville
String Quartet
J. Patrick Rafferty, violin
Marcus Ratzenboeck, violin
Jamie Hofman, viola
Paul York, cello
with Guest Artist Charles Pikler, viola
Monday Evening
September 11, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Adagio, Op. 11
Samuel Barber
(1910-1981)
String Quartet (1965)
Introductory Movement
Main Movement
Witold Lutoslawski
(1913-1994)
INTERMISSION
String Quintet in C Major, Op. 29 Ludwig van Beethoven
Allegro moderato (1770-1827)
Adagio molto espressivo
Scherzo: Allegro
Presto
With Charles Pikler, viola
Charles Pikler, viola
Charles Pikler joined the Chicago Symphony Orchestra as a violinist in 1978 and,
in 1986, he was named principal viola.
Mr. Pikler studied the piano with his parents and violin with Ben Ornstein,
Bronislaw Gimpel at the University of Connecticut, and Roman Totenberg at the
Tanglewood Young Artist Program at the Berkshire Music Center. He appeared
as soloist with the Hartford Symphony Orchestra, Eastern Connecticut Symphony,
and Manchester Civic Orchestra, among others. He holds a degree in
mathematics with distinct honors from the University of Minnesota.
He launched his career as a violinist with the Minnesota Orchestra in 1971, later
becoming a member of the Cleveland Orchestra (1974 to 1976) and the Rotterdam
Philharmonic (1976 to 1978). He has been featured as a soloist with the CSO, as
well as with other orchestras in the Chicago area. He also is principal viola of the
Ravinia Festival Orchestra.
Mr. Pikler served as concertmaster of the Chicago Chamber Orchestra under
Dieter Kober, touring with it and also performing as soloist; the Sinfonia
Orchestra of Chicago; the Orchestra of the Apollo Chorus; the Ars Viva
Orchestra; the Chicago Opera Theater Orchestra; the Symphony of Oak Park
and River Forest; and the River Cities Philharmonic. He currently is concertmaster
of the Northbrook Symphony under Samuel Magad. He also has been guest
soloist and conductor of the Mendelssohn Club Chamber Orchestra in Rockford,
Illinois.
A chamber music enthusiast, he performs with several ensembles, including the
Chicago Symphony String Quartet. Charlie has been a guest artist with the
Daniel String Quartet in Holland and the Vermeer Quartet of De Kalb. In 1990,
he performed Frank Beezhold's Viola Concerto, which was written for and
dedicated to him, with the Civic Orchestra of Chicago at Orchestra Hall. He also
has recorded it in the composer's own transcription for piano and viola with
Dorothy Shultz. In 1995 and 1996, he served as guest principal viola for the Boston
Symphony under Seiji Ozawa.
Mr. Pikler is on the faculties of North Park University and Northeastern Illinois
University, as well as the Sewanee Summer Music Center in Sewanee, Tennessee.
He also enjoys coaching Civic Orchestra of Chicago sectionals as well as other
orchestras and chamber ensembles.
Charlie and his wife, Ruth, have two sons, David and Andrew, and a daughter,
Amy.
BIOGRAPHIES
J. Patrick Rafferty, violin
Violinist J. Patrick Rafferty has been hailed for his "exciting performances," his
"subtle and imaginative ideas about the music," and "a velvety, sweetly sonorous
tone [that] captured the intellect and calmed the soul" (Milwaukee Sentinel).
Rafferty's solo credits include concerto performances with the symphony
orchestras of Milwaukee, Dallas, Cincinnati, and St. Louis. In addition, he has
appeared as soloist with the Dallas Bach Orchestra, the Dallas Chamber Orchestra,
the Dallas Fine Arts Orchestra, the Brevard Music Center Orchestra, the Cincinnati
Symphony Chamber Orchestra, and many others, with over 40 works performed.
J. Patrick Rafferty served as Concertmaster of the Milwaukee Symphony Orchestra
from 1986 to 1991. He previously served as Associate Concertmaster of the Dallas
Symphony for eight years, and as Concertmaster for the Dallas Bach and Fine Arts
Orchestras. As recitalist, Rafferty has performed in New York, Chicago, Boston,
Washington, D.C., Cincinnati, Atlanta, Miami, Nashville, Orlando, and many other
cities.
An accomplished chamber music performer as well as an acclaimed solo and
orchestral artist, violinist J. Patrick Rafferty joined the internationally- acclaimed
Louisville String Quartet in 2005 as first violinist. He also maintains commitments
with the Cadek Trio, whom he joined in 1991. His national reputation as an
outstanding chamber musician has been built on his association with such
ensembles as the New Marlboro Chamber Players, the American Chamber Trio,
the Fine Arts Chamber Players, the Dallas Chamber Orchestra, and the Walden
Chamber Players.
While maintaining his active performance schedule, Rafferty has successfully
built a respected teaching career. He has taught at the Wisconsin Conservatory,
the University of Wisconsin-Milwaukee, the University of Alabama, and is now
Associate Professor of Violin at the University of Louisville. He is also on the
summer artist faculty of the Brevard Music Center in North Carolina, where he
is concertmaster of the Brevard Music Center Orchestra.
Marcus Ratzenboeck, violin
Marcus Ratzenboeck has been Principal second violin of the Louisville Orchestra
since 2000. He has been violin faculty at the University of Louisville and the second
violinist of the Louisville String Quartet since 2001. He also serves as concertmaster
of the Louisville Bach Society. Marcus has a master's degree in Violin Performance
from Indiana University, where he studied with Henryk Kowalski and Yuval Yaron.
He also holds a Bachelor of Music in Violin Performance from Florida State
University, where he studied with Eliot Chapo. While at Indiana University,
Marcus served as concertmaster of the IU Symphony Orchestra and co-
concertmaster of the Columbus (IN) Philharmonic. Marcus currently gives
numerous recitals both as a solo and chamber musician. He has served as
concertmaster and soloist for the Spoleto U.S.A. festival and has been featured
in festivals including Sarasota Music Festival, Tanglewood Festival, A.I.M.S. Graz
in Austria, Hirosaki International Music Festival (Japan), Bear Valley Festiva
(CA), and as concertmaster of the Indiana University Festival Orchestra.
Jamie Hofman, viola
Jamie Hofman is a graduate of Indiana University and holds performance
degrees in violin (BM) and viola (BM), as well as a Performer's Diploma on viola.
His principal teachers have been Mimi Zweig, Jerry Horner, and Atar Arad. He is
a member of the Louisville Orchestra and the Louisville String Quartet. Mr.
Hofman has performed around the world at festivals such as the Schlewig-
Holstein Musik Festival in Germany, the European Musik Festival - Stuttgart, the
International Festival Symphony - Jerusalem, the Pacific Music Festival -Japan,
Blossom Music Festival -Cleveland, and the Sarasota Music Festival in Florida. Mr.
Hofman won the second prize in the Chicago Viola Society Solo competition and
has performed as a soloist in Milwaukee with the Milwaukee Chamber Orchestra,
the Catholic Symphony Orchestra, and on the Civic Music Artist and Ensemble
series. Mr. Hofman is actively involved in teaching through the Louisville Youth
Orchestra, various summer camps, and private lessons.
Paul York, cello
An accomplished soloist, chamber musician and teacher, Paul York has appeared
in recital and with orchestras in the U.S. and abroad. Mr. York serves on the string
faculty at the University of Louisville, where he maintains an active teaching and
performing schedule. Recent solo appearances include a performance of Vivaldi's
Double Concerto in G Minor with internationally-acclaimed cellist Yo-Yo Ma and a
tour of Japan in April 2006.
An avid chamber musician, Mr. York is a member of the Louisville String Quartet
and was a founding member of The Logsdon Chamber Ensemble, a Texas
Commission of the Arts Touring ensemble as well as ensemble-in-residence at
Hardin-Simmons University. As a champion of contemporary music, Mr. York has
commissioned works for the cello by such composers as Stefan Freund, Marc
Satterwhite, Steve Rouse, Paul Brink, Frederick Speck, and John La Barbera. He
also premiered Alfred Bartle's new orchestration of Bartok's First Rhapsody for
cello with the Sewanee Festival Orchestra and, in February of 2005, performed the
Grawemeyer Award-winning cello concerto Colored Field by Aaron Jay Kernis with
the Louisville Orchestra.
Mr. York has participated in numerous summer festivals. He is currently a
member of the artist faculty and head of the cello department at the Sewanee
Summer Music Festival, where he performs solo and chamber works and serves
a principal cello of the Festival Orchestra, in addition to his teaching schedule. He
has also performed at Strings in the Mountains in Colorado, the Abilene Chamber
Music Series, and served as principal cello with the Des Moines Metro Opera
Orchestra. He has held principal cello positions with numerous regional orchestras
and performed as a member of the cello section of the Saint Louis Symphony
under the direction of Leonard Slatkin.
Mr. York received his bachelor's degree from the University of Southern California
and his master of music degree from the University of California at Santa Barbara,
where he studied with Ronald Leonard. The recipient of numerous honors and
awards, Mr. York was selected to participate in the prestigious Piatigrosky
seminar at the University of South California. Mr. York can be heard on the
Centaur, Arizona University Press, and CRS labels and has recorded a CD of
French Baroque chamber music with Promenade at the University of Southern
Mississippi, where he previously served as faculty.
School of
music
IMVERSITY of IDUISVILLE.
dare to be great
Organ Guest Artist & Recital Series
presents
Leon Couch, III
Friday Evening
September 15, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Praeludium in D Minor, BuxWV 140 Dietrich Buxtehude
(1637-1707)
Sidlienne Maria Theresia von Paradis
(1759-1824)
Canzonetta in G Major, BuxWV 172 Dietrich Buxtehude
(1637-1707)
Toccata and Fugue in F Major, BWV 540 J.S. Bach
(1685-1750)
---PAUSE---
Chorale No. 2 inB Minor
Cesar Franck
from Trois chorals
(1822-1890)
Selections from Theme and Variations
Janet Linker
on "0 Waly Waly"
(1902-1983)
Variations on America
Charles Ives
(1874-1954)
Please greet the artist at a reception in the lobby
following the concert.
BIOGRAPHY
Leon W. Couch III earned two doctoral degrees from the University of
Cincinnati's College-Conservatory of Music: the D.M.A. in Organ
Performance and the Ph.D. in Music Theory. His undergraduate degrees
in physics, mathematics, and music are from the University of Florida.
Having taught collegiate music theory and organ since 1993, Dr.
Couch's teaching has been highly regarded. While on the faculty at
Texas A&M University, the university named him their 2005-2006
Montague Teaching Excellence Scholar for the College of Liberals Arts
and Sciences (230+ faculty). In addition to designing and coordinating
their music-theory curriculum for several years. Dr. Couch supervised
pedagogy and student research projects. Earlier, Dr. Couch taught
organ studio, music theory, and undergraduate mathematics at the
University of Cincinnati. Now College Organist at Converse College, Dr.
Couch teaches both organ and music theory at the undergraduate and
graduate levels.
Dr. Couch's scholarship concentrates on pragmatic applications of
modern analysis and historical music theory to keyboard performance.
Recent projects include rhythmic analyses (Schenker) of Baroque organ
works and musical-rhetorical interpretations of seventeenth-century
German music. Dr. Couch has presented at numerous international,
national, and regional conferences, including both national conferences
of the American Guild of Organists (AGO) this year. As the 2007 Nelson
visiting scholar at Northwestern College, Couch also enjoys presenting
lectures to the local AGO chapters and to the public.
This fall, the respected label Pro Organo will release his solo recording
Hamburger Rhetoric, which features dramatic music and musical
settings of the Lord's Prayer by Bach, Buxtehude, Mendelssohn, and
others. These musical-rhetorical interpretations were recorded on the
beautiful Noack tracker instrument at Christ the King Lutheran Church
in Houston, Texas. Each year. Dr. Couch presents organ recitals,
masterclasses, and lecture-recitals throughout the United States. This
spring, he will perform in several states: CA, DC, FL, GA, LA, KY, MA,
MN, NJ, SC, TX.
Dr. Couch has been the recipient of numerous grants for his scholar¬
ship, performances, teaching, and public service. He is also active in
several musical organizations (AGO, AMS-SW, CMS-SW, ICMC, and
TSMT) and as a church musician.
The University of Louisville Concert Organ - History
The Comstock Hall pipe organ at the University of Louisville School of Music was
built in 1980 by the Steiner Organ Company, now Steiner Inc. of Louisville. There
are 48 voices (stops) and 60 ranks (sets) of pipes in the instrument. These stops
are playable over three manuals (keyboards) and the pedal, played, of course,
by the performer's feet.
The key action is mechanical or "tracker action," which means that the performer,
through trackers and levers, directly opens the valves which allow the wind into
the pipe. So, like a piano, the performer has a direct connection to the sound. This
is different than at electropneumatic organ, which still has pipes, but in which the
wind is allowed into the pipe by completing an electrical circuit when the key is
depressed.
At one point, when the organ department was especially thriving, the organ
underwent as many as 20 hours of practice a day - about 10 times the use a regular
church organ would get. Needless to say, over time, the instrument began to need
attention.
In the 1990s, electric manual couplers were installed to assist the player in
combining the various manuals together, reducing the stiffness of the key action
and making it easier to play. The keys themselves, made out of wood, had worn
down or had developed grooves in them from the rigorous practice schedule, and
were also resurfaced.
During the summer of 2005, much was done to improve the instrument in
preparation for new students and for the inaugural year of the Guest Artist and
Recital Series. Within the body of the organ were two large automotive batteries
with chargers which helped to supply the high amperage required by moving the
drawknobs (knobs the performer pulls to select the various sounds). These have
been replaced with rectifiers, which are very reliable and do not have to be
changed every few years as the batteries did. The stop-action controllers were
also replaced, making the system that controls the drawknobs more reliable and
much more quiet. These are controlled by a set of buttons called pistons, which
the performer uses to pre-set a combination of stops to make changes during a
piece. This is how the organist can make either gradual increases or decreases
in sound and make quick changes within a piece. Additionally, renovation work
on the organ has included recovering of some "winkers" or concussion bellows
which are a shock absorber for the wind system. This adjustment addressed
some wind leaks which had previously created hisses, thereby lightening and
evening the key and pedal touch. The result for the player is a mechanically stable
instrument that is much easier to play than before. For the listener, the result is
a great reduction in mechanical noises from the instrument, which were distract¬
ing during performances. (Organ history provided by the Curator of Organs at the
University of Louisville, Pete Webber of Webber-Borne Organbuilders, Louisville, KY.)
The organ has been featured many times this year by faculty, students, and guest
artists at the University of Louisville. Please call 502-852-2122 or visit
music.louisville.edu/organ for more information about upcoming organ events.
The University of Louisville Concert Organ - Specifications
Steiner (1981) III-60
Pedal
Prinzipal - 16'
Subbass - 16'
Floete - 8'
Oktave - 8’
Choral Bass - 4'
Nachthorn - 4'
Blockfloete - 2'
Mixtur - IV
Fagott - 32'
Posaune - 16'
Trompette - 8'
Kornett - 4'
Oberwerk (under expression)
Bourdon -16'
Spitz Gedackt - 8'
Viola Celeste - 8'
Viola de Gamba - 8'
Prinzipal - 4'
Traversfloete - 4'
Nasat - 2 2/3'
Blockfloete - 2'
Terz - 1 3/5'
Siffloete -1'
Scharff Mixtur - IV
Dulzian - 16'
Trompette - 8’
Oboe - 8'
Klarine - 4'
Tremulant
32 levels of memory
10 general pistons
6 divisional pistons
Tutti (not adjustable)
Hauptwerk
Gedackt Pommer -16'
Prinzipal - 8'
Rohrfloete - 8'
Spillfloete - 4’
Oktave - 4'
Waldfloete - 2'
Oktave - 2'
Sesqui Altera - II
Scharff-III
Mixtur - IV-VI
Trompette - 8'
Vox Humana - 8'
Positiv
Holz Gedackt - 8'
Quintade - 8'
Prinzipal - 4'
Koppelfloete-4'
Oktave - 2'
Quinte -1 1/3'
Scharff-III-IV
Rankett Regal -16'
Krummhorn - 8'
Tremulant
Couplers
Oberwerk to Pedal
Positiv to Pedal
Hauptwerk to Pedal
Positiv to Hauptwerk
Oberwerk to Hauptwerk
Oberwerk to Positiv
Both electric and mechanical
coupling action available
School of
music
IMVERSITYqf IOULSVILLE.
** 111 ■—
dare to be great
presents
Denine
LeBlanc,
Piano
Sunday Afternoon
September 17, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonata in A Major, K. 331
Andante grazioso
Menuetto-Trio
Alla Turca: Allegretto
W.A. Mozart
(1756-1791)
Fantasiestiicke, Op. 12
Des Abends
Traumes-Wirren
Fabel
Aufschwung
Robert Schumann
(1810-1856)
INTERMISSION
Reflections (2003)
Rachel Grimes
(b. 1970)
Lobo (2004-2005)
in two movements
Nick Drake
(b. 1978)
Psyche and Eros Sara Buchanan MacLean
^”8 s (b. 1952)
Longing
Oats, barley, rye, oats, barley, rye, wheat
Sleep
Transformation
S'Wonderful
Strike up the Band
I Got Rhythm
George Gershwin
(1898-1937)
PROGRAM NOTES
Sonata in A Major, K. 331 W.A. Mozart
Unlike the piano concertos, the bulk of Mozart's solo piano works were
not intended for concert. They were rather to be used as teaching pieces, or as
Hausmusik, music for home entertainment. Sonata in A major distinguishes
itself with its lovely opening, a theme and variations movement and its celebrated
finale, a Turkish march.
Fantasiestucke, Op. 12 Robert Schumann
True to the Romantic tradition, Schumann wrote beautiful character
pieces. Des Abends is a lyric nocturne whose right hand floats above a
continuous and gentle arpeggio pattern. Both Traumes-Wirren and Fabel
alternate between capricious, frenetic material, and soothing, almost chorale
melodies. Aufschwung (Soaring) as its name suggests, is brilliant in character
and built on a rising motif that appears in a rondo-like form. (D.L.)
Reflections (2003) Rachel Grimes
Commissioned by Denine LeBlanc for her 2003 concert series, this work
is loosely based on the theme and variations form. Instead of presenting the
theme in completion at the beginning, it is fragmented throughout the seven
seamless variations until the final section, where it is presented in peaceful
simplicity. The theme in this case is melodic and harmonic in nature. The title
of each of the seven variations are actions that are reflected in a texture or
gesture-I. See, II. Listen, III. Question, IV. Grow, V. Work, VI. Give, VII. Rest.
The basic human actions are, for me, the essence of many a process, whether
it be creating, learning, or coping. The writings of Kentuckian Wendell Berry have
been a great comfort and an inspiration to me, especially through the troubling
and turbulent global events of recent months. His brave clarity is a guiding light
for many.
Lobo (2004-2005) Nick Drake
Even a lone wolf
has belonged to a pack
once...
A shy hunter
in blind struggle against rescue
always chooses life alone
until he selects death.
- John Allen Boyd
Lobo was written for and dedicated to John Boyd, a good friend and former high-
school teacher of the composer, who was inspirational in his teaching and
support. Both of the movements are based on themes that Boyd composed for
solo violin. In Lobo, the themes are presented as gestures in the opening of each
movement, which are then explored in fantasy. As the excerpt from the poem
suggests, a being cannot exist as individual without the backdrop of community.
Psyche and Eros Sara Buchanan MacLean
There are five self-contained musical images from the classical myth
in this piece. The first. Wings, evokes the ectasy of being swept away by passion,
and is named for the repeated descending pattern that has the shape of a wing
when notated. A sorrowful melody in A-flat minor embedded in figuration
expresses loss in the next image, longing.
Oats, barley, rye, oats, barley, rye, wheat is a scherzo, in a contrasting
texture and mood. It literally depicts the frenetic movement of busy ants sorting
grains as they complete one of Psyche's tasks. The fourth piece, sleep, is slow
and dreamy with repeated notes, pauses, and chordal passages. Musical ideas
from the first piece are reworked in transformation, the final image.
S'Wonderful, Strike Up the Band, I Got Rhythm George Gershwin
Not only is George Gershwin one of America's finest song writers, he
was in his day an excellent pianist. He played for highly distinguished musicians
including Maurice Ravel, Sergei Rachmaninoff, Victor Herbert, Arturo Toscanini,
Serge Koussevitzky, Henry Cowell and Jascha Heifetz. These are a few of
Gershwin's countless song improvisations that he actually notated for publication
in 1932.
BIOGRAPHY
Denine LeBlanc is instructor of Piano in the Preparatory Department of the
University of Louisville School of Music, and the Arts and Humanities teacher
at Coleridge-Taylor Montessori Elementary School in Louisville. She is a
frequent accompanist, having spent the summer of 2005 at the famed Interlochen
Arts Camp as a collaborative pianist and coach for the Camp's Advanced Vocal
Institute. Recognized as a performer and advocate for new music. Dr. LeBlanc's
compact disc entitled The Sun Shines Bright , on the Sea Breeze label, features new
and original music by Kentucky composers, a project very dear to her heart. In
June of this year. Dr. LeBlanc was given the opportunity to share this project
overseas when the Cultural Ambassador of Macon, France asked her to
perform pieces from the CD in a concert at "la Fete de la musique."
Dr. LeBlanc has given many lectures, including a presentation at the 1998 Music
Teachers National Convention based on her research in the Isidore Philipp
Archives of the University of Lousiville. In addition, she has articles on Isidore
Philipp published in American Music Teacher and Clavier.
In collaboration with Rachel Grimes, a Louisville composer and pianist. Dr.
LeBlanc is a co-recipient of grants from the University of Louisville Women's
Center, the Kentucky Foundation for Women, and the Kentucky Arts Council.
Dr. LeBlanc is Past President of the Greater Louisville Music Teacher s
Association and of the Kentucky Music Teachers Association.
To FIND OUT MORE ABOUT EVENTS AT THE
University of Louisville School of Music:
Concert Line: 502-852-0524
music.louisviIIe.edu
The University of Louisville
School of Music
presents the
University Chorus
Kent Hatteberg, Conductor
with
Benjamin Powell, Student Conductor
Cardinal Singers
Kent Hatteberg, Conductor
and
Collegiate Chorale
Kent Hatteberg, Conductor
with
Huifang Chen, Student Conductor
Margaret Comstock Concert Hall
Sunday Evening
September 17,2006
7:30P.M.
Smoking is not permitted in the School of Music Building. In the unlikely event of fire or
other emergency, please walk - not run - to the nearest exit. The use of recording devices
is strictly prohibited. Please silence electronic watches, phones, and pagers.
UNIVERSITY CHORUS
Come, Mighty Father (from Theodora )
Kyrie (from Mass in C)
Melissa Renn, soprano
Dustin Seabolt, tenor
Hear My Prayer
Rockin'Jerusalem
George Frideric Handel
(1685-1759)
Ludwig van Beethoven
(1770-1827)
Megan Johnson, alto
Andrew Baker, bass
Moses Hogan
(1957-2003)
Andre J. Thomas
(b. 1952)
Benjamin Powell, student conductor
COLLEGIATE CHORALE
Heilig (from Die deulsche Liturgie)
• Felix Mendelssohn
(1809-1947)
Hosanna in excelsis (from Mors et vita)
Charles Gounod
(1818-1893)
Verbum supemum prodiens
DamijanMocnik
(b. 1967)
Ubi caritas (from Quatre Motets, Op. 10)
Maurice Durufle
(1902-1986)
Cantate Domino
Vytautas Miskinis
(b. 1954)
Huifang Chen, student conductor
WOMEN OF THE CARDINAL SINGERS
I wander up and down
John Bennet
(671575-80;/1599-1614)
Und gehst du iiber den Kirchhof
(from Zwolf Lieder und Romanzen, Op. 44)
Hoj, Hura, Hoj (from Lalske helecka&ky )
Hilary Hilliard, Alexis Paxton, Huifang Chen,
Johannes Brahms
(1833-1897)
Otmar M6cha
sopranos (b. 1922)
CARDINAL SINGERS
El Amor y la Locura Alejandro Yagiie
(b. 1947)
Neuremaitena Ignacio Mocoroa
(1902-1979)
Sanctus (from Missapro defunctis) Tomas Luis de Victoria
(1548-1611)
Der43stePsalm: Richtemich,Gott(Op.78,No.2) Felix Mendelssohn
Cardinal Singers
Kent Hatteberg, director
SopranoI
Tenorl
Amanda Tarryn Bryant
Bill Coleman
HuifangChen
Joshua Hein
Hilary Hilliard
Kevin Sproul
Alexis Paxton
Walter Jay Wollmann
Soprano II
Tenorll
Kelly Ballou
Rob Carlson
A lane Hart
Josh Hamilton
Amy Parker Cuenca
William ThomasMillsIl
Erin Keesy
Seung YongShin
Alto I
Bass I
Kristin Hale
James R. Cooper
Amanda Harless
Peter A. Lovett
Emily Malone
Phillip Morgan
Hyun Jung Ji
AltoII
Benjamin Powell
Christopher Shortt
Mary Beth Harris
Bass II
EmilyNeubauer
Austin H. Echols, Jr.
Carlisle Schoner
Brett McDermid
Tamara Stewart
Ben Riley
Barrett Smith
University Chorus
Kent Hatteberg, director
Benjamin Powell, student director
Huifang Chen, accompanist
Soprano
Lynn Baker
Nikki Bernstein
Erica Blankenship
Sarah Clark
Sandra Duran
LaraFejes
ChristinaHatfield
Jessica Heard
Melissa Renn
Jennifer Thompson
Elizabeth Underwood
Sarah Watkins*
Christina White
Tenor
Billie Bradford
Dustin Seabolt
SeungYongShin*
Matt Wallen
Graduate Students *
Alto
Jennifer Baker
Amy Berg
ErinHeckmann
HyunJungJi*
Megan Johnson
Laura Pinkston
Holly Thomerson
Sasha Wiseman
Bass
Andrew Baker
Chad Blackman
Gary Clark
Aaron Craker
Chase Dabney
Daniel R. Goode
Armistead Grandstaff
Andrew Masden
Charles Rivera
Chris Seal*
Daniel Smith
JeffThomas
Barrett Wilson
Collegiate Chorale
Kent E. Hatteberg, director
Austin H. Echols, Jr., accompanist
SopranoI
Amanda Tarryn Bryant
HuifangChen*+
Hilary Hilliard
Cassie Lyles
Kelly Welding
Kelli White
Ellen Whittaker
Soprano II
Kelly Ballou
Libby Ford
LynHall
Alane Hart
ErinKeesy
RiarmeF. Marcum
Claire Mosley
Jenifer Thomas
TenorI
Bill Coleman
JoshuaHein
Walter Jay Wollmann
Tenor II
Rob Carlson
Josh Hamilton
Adam Hardin*
SeungYong Shin*+
Graduate Students *
Section Leaders+
Alto I
A. Nicole Alexander
Kristyn Brown
Amanda Harless
HyunJungJi*
Sarah Powell
Emely Sepulveda
Amanda K. Walker
Myco Tran Wulkopf
AltoII
AlisiaEpps
ShareikaL. Fisher
Mary Beth Harris+
Emily Neubauer
Paula Rada
Carlisle Schoner
Kate Sureck
Bass I
Phillip Morgan
BenjaminPowell*+
ChristopherShortt
Justin Wilkey
Bass II
Evan Blum
JayCoughlon
Austin H. Echols, Jr.
R. Andrew Fowler
Ben Riley
Barrett Smith
AdamYankowy
University of Louisville
University Chorus, Collegiate Chorale,
and
Cardinal Singers
Sunday, September 17, 2006
Texts, Translations, and Notes
Tonight’s concert features the three mixed choruses of the School of Music Choral Department in their opening
performances of the 2006-2007 academic year. The University Chorus is comprised of voice, piano, guitar,
composition, and music therapy majors as well as non-music majors. Conductors of the University Chorus are
Kent Hatteberg, Director of Choral Activities, and Benjamin Powell, who is in his second semester of study for the
master’s degree in Choral Conducting.
The Collegiate Chorale, conducted by Kent Hatteberg, is the premiere choral ensemble of the School of Music.
The choir was featured at the ACDA National Convention in Los Angeles in February 2005. They have appeared
at regional and national ACDA conventions, the National Convention of the Music Educators National Conference,
the Inauguration of President George W. Bush, the National Orff-Schulwerk Association Conference, and the
KMEA State In-Service Conference. This Saturday they will perform Charles Gounod’s Mors et Vita with the
Choral Arts Society and the Louisville Orchestra. In October the women of the Chorale will perform
Mendelssohn’s Incidental Music to A Midsummer Night’s Dream with the Louisville Orchestra. In January they
will perform Howard Shore’s The Lord of the Rings Symphony with the Louisville Orchestra, and in March they
will collaborate with the Choral Arts Society.
Huifang Chen will conduct two selections in tonight’s Collegiate Chorale performance. Ms. Chen, a native of
Taiwan, is in her last semester of graduate study in Choral Conducting and will present her master’s degree recital
in November.
The Cardinal Singers, conducted by Kent Hatteberg, is the School of Music’s chamber choir. The Singers are
preparing for performances in the Tolosa Choral Competition in Tolosa, Spain in early November. Musica Mundi,
an organization that sponsors numerous international choral festivals and competitions, has compiled a World
Ranking List of the 500 top choirs from over 3000 choirs that have competed at such events. Musica Mundi
assigned point values to choirs who have competed based on diplomas awarded and category placement.
According to their calculations, the University of Louisville Cardinal Singers are ranked second internationally.
This information can be found at http://www.musica-mundi.coin/index.php7kN923 , along with an explanation of
the point system.
The Cardinal Singers performed at the 7 ,h World Symposium on Choral Music in Kyoto, Japan in August 2005.
They won first prize and the Preis des Bundestagsprasidenten der Bandesrepublik Deutschland for the highest
score of all choirs (a perfect 25) at the Harmonie-Festival in Lindenholzhausen in May 2005. They also won a
special prize for the outstanding interpretation of a world premiere: Laudate pueri, Dominum by Vytautas Miskinis.
The Singers won Second Prize at the International Chamber Choir Competition in Marktoberdorf, Germany in May
2005. Kent Hatteberg was named winner of the Marie Straecker-Daelen Prize: the conductor s prize for the best
interpretation of a contemporary choral work ( Ich bin das Brot des Lebens by Wolfram Buchenberg). In July 2004
they competed in the International Choir Olympics in Bremen, Germany, where they won first place in the
Chamber Choir Category, first in the Spiritual/Gospel Category, and fourth in Musica Contemporaneana. They
were one of only three choirs at the Olympics to win two categories. In 2003 they competed m the Third
International Johannes Brahms Choral Competition in Wernigerode, Germany. They received Gold Diplomas in
the Chamber Choir category, where they placed third, and in the Spiritual/Gospel category, where t ey were le
category winners. They were featured at the American Choral Directors Association (ACDA) Soutiern ivisio
Convention in Nashville, TN in February 2004 and at the KMEA State Conference in February 200
Selections by the University Chorus
Come, Mighty Father is from the first act of the three-act oratorio Theodora , composed in 1749. Although
Theodora was Handel’s personal favorite among his works and is considered today one of his masterpieces, it was
his biggest public failure. Ludwig van Beethoven composed the Mass in C in 1807, shortly after the composition of
the Eroica Symphony, his Piano Concerto in G (no. 4), and the Violin Concerto in D.
Kyrie eleison. Lord, have mercy.
Christe eleison. Christ, have mercy.
Kyire eleison. Lord, have mercy.
Moses Hogan, one of the leading arrangers of spirituals in the 20 th Century, dedicated Hear My Prayer to the
memory of Jester Hairston, famed choral director, composer and arranger, educator, singer, and actor who died in
2000 at the age of 98. Hairston acted in more than 20 films during his lifetime, and was Roily Forbes in the 1986-
1991 TV series “Amen.” Andre Thomas, composer of Rockin’ Jerusalem, is Director of Choral Activities at
Florida State University, and is a sought-after guest conductor for All-State and other choral festivals.
Selections by the Collegiate Chorale
Mendelssohn’s Heilig, for eight-part a cappella chorus, is one of three works from Die deutsche Liturgie (the others
are Kyrie and Ehre sei Gott in der Hohe) set to Luther’s translation of the Mass. The works, composed in 1846,
were intended for liturgical use in the Berliner Dom, when Mendelssohn was in service to the King of Prussia in
Berlin.
Heilig, heilig, heilig
ist Gott der Herr Zebaoth!
Alle Lande sind seiner Ehre volll
Hosianna in der Hoh!
Gelobt sei der da kommt
im Namen des Her ml
Hosianna in der Hoh!
Holy, holy holy
is God, the Lord of hosts!
All nations are full of His glory!
Hosanna in the highest!
Blessed is he who comes
in the name of the Lord!
Hosanna in the highest!
^ i$ ' he final m0Vement of Gounod ' s sacred tr ‘l°8y Mors e, vi,a.
t « FT "T TT« ° f “ Dea ' h> Judgment ' and Life ” According to the composer,
s a continuation of lus sacred trilogy The Redemption, composed in 1882.
Hosanna in excelsis Deo!
Glory to God in the highest!
1" LifWJ™. ^ he is a
Verbum superman prodiens
a patre olim exiens
qui natus orbi subveni
cursu declivi temporis.
Ilumina nuc pec tor a
et tuo amore
concerma audito et praeconia
sint pulsa tandem lubrica.
Laus, honor, virtus,
gloria Dei Patri et Filio
Sancto sirnul paraclito
m sempiterna saecula. Amen.
High Word of God, eternal Light
begotten of the Father's might,
who cam 'st a Child, the world to aid,
as years their downward course displayed.
Ow hearts enlighten from above,
and kindle with thine own true love;
that, dead to earthly things, we may
be filled with heavenly things today.
Praise to the Father and the Son,
and Holy Spirit, three in one,
and to the holy Paraclete
be praised with them and worship meet. Amen.
Maurice Durufle’s Ubi caritas is one of his Quatre Motets,
Gregorian chant themes.
opus 10, composed in 1960. The motets are based on
Ubi caritas et amor, Dens ibi est.
Congregavit nos in union Christi amor.
Exsultemus et in ipso jucundemur.
Timeamus et amemus Deum vivum.
Et ex corde diligamus nos sincero.
Ubi caritas et amor, Dens ibi est.
Amen.
Where there is charity and love, God is there.
The love of Christ has gathered us together.
Let us rejoice and be glad in it.
Let us revere and love the living God.
And from a sincere heart let us love one another.
Where there is charity and love, God is (here.
Amen.
Lithuanian composer Vytautas Miskinis is well-known to local audiences, as the University of Louisville Choral
Department has commissioned him on two occasions to write pieces for them, and he dedicated a third piece to
Kent Hatteberg and the Cardinal Singers (see the note on the first page about Laudatepueri, Dominion).
Cantate Domino canticum novum,
et benedicite nomini ejus,
quia mirabilia fecit.
Cantate Domino canticum novum.
Cantate et exsultate et psalite
in cithara et voce psalmi.
Cantate Domino canticum novum.
Sing to the Lord a new song,
and give praise to His name,
for He has done marvelous deeds.
Sing to the Lord a new song.
Sing and exult and praise
in songs with the harp and voice.
Sing to the Lord a new song.
Selections by the Women of the Cardinal Singers
The women of the Cardinal Singers are entered in two categories at the Tolosa Choral Competition: Vocal Groups
Modality I: Religious Music and Vocal Groups Modality II: Secular Music. Tonight they perform three selections
from the secular category, including a four-voice madrigal by English composer John Bennet and a partsong from
Zwolf Lieder und Romanzen, opus 44 by Johannes Brahms.
Und gehst du iiber den Kirchhof
Und gehst du iiber den Kirchhof,
da findest du ein frisches Grab;
da senkten sie mit Tranen
ein schones Herz hinab.
Und fragst du, woran's gestorben;
kein Grabstein Antwort gibt;
doch leise fliistern die Winde,
es hatte zu he if geliebt.
If you go through the churchyard
you will find a newly dug grave;
there, amid tears,
a faithful heart was laid.
And if you ask of what it died,
no gravestone gives the answer;
but the winds softly whisper,
"It loved too well. ”
The third selection is a folksong arrangement by Otmar Macha, who was born near the area in the Czech Republic
from which the folk poetry of Hoj, hura, hoj! originates. Hoj, hura, hoj! is from Lasske heleckacky, a song cycle of
mountain songs for SSAA which received awards in the Jubilee Competition for the 50th anniversary of the
October Revolution (1967) and in the Jihlava International Choral Competition (1973). The Moravain folk poetry
dialect in Hoj, hura, hoj! is from the Beskyde Mountains and Valassko region which is the natural border between
Moravia and Slovakia, where shepherding cattle and sheep have been a normal occupation for young fellows and
girls. In this song, the fellows enjoy the sensation of calling out across the mountains and anticipate the enjoyment
of being with their girl friends in the villages after their work is done.
Hoj, hura hoj! Hura hoj!
Chasa zas kravicky vyhaha,
kravare zdestiny volava:
Hura hoj! Hura hoj!
O, mountain, O! O, mountain!
The shepherds are bringing the cows out to
the pasture, andfrom the meadow are yelling:
O, mountain, O! O, mountain!
Babulenky moje, paste se
vy vkole ac odzvoha klekani,
pujdu ja domu svami.
Pujdu za kopecky,
paste se ovecky,
pujdu ja kMarusce,
svoji galanacce.
My cows, graze yourselves;
you in the circle (e.e. dancing girls), when the
evening bells peal, I'll go to you.
I'll go beyond the hills,
sheep, graze,
I’ll go to see Marushka, (nickname for Mary)
My girlfriend.
Hoj, hura hoj! Hura hojl
Chasa zas kravicky vyhaha,
kravare zdestiny volava:
Hura hoj! Hura hoj!
O, mountain, O! O, mountain!
The shepherds are bringing the cows out to
the pasture, and from the meadow are yelling:
O, mountain, O! O, mountain!
Selections by the Cardinal Singers
The Cardinal Singers are entered in the categories of Mixed Choirs Modality I: Basque Song and Folklore, and
Modality II: Polyphony at the Tolosa Choral Competition. The first two selections in tonight’s concert feature
works by native Basque (an area in northern Spain) composers, including Alejandro Yagiie’s El Amor y la Locura,
which is the compulsory work for the Tolosa 2006 competition in Polyphony, and Neure maitena, which was the
compulsory work for the Tolosa 2002 competition and fulfills the requirement of a work of Popular Basque
inspiration in the category of Basque Song and Folklore.
El Amor y la Locura
El Amor y la Locura.
Habiendo la Locura con el Amor rehido,
dejo ciego de un golpe al miserable niho.
Venus, mas jeon que gritos!
Venganza pide al cielo
Era madre y esposa:
con esto queda dicho.
Querellase a los dioses,
presentando a su hijo:
jDe que sirven las flechas,
de que el arco a Cupido,
faltdndole la vista
para asestar sus tiros?
Quitensele las alas
y aquel ardiente cirio,
si a su luz ser no pueden
sus vuelos dirigidos. ”
Atendiendo a que el ciego
Siguiese su ejercicio,
y a que la delincuente
tuviese se castigo,
Jupiter, presidente
de la asamblea, dijo:
Ordeno a la Locura,
desde este instante mismo,
que eternamente sea
de Amore el lazarillo. ”
Love and Madness.
Madness, having fought with Love,
struck blind the miserable child.
Venus pleads to the sky
for vengeance, with such cries!
She was mother and a wife:
nothing more need be said.
She challenged the gods,
presenting her son:
“ What use are arrows,
what use Cupid’s bow,
if he cannot see
to aim his shots?
Take his wings away
and also his burning candle
if to its light his flights
cannot be directed. ’’
Ensuring that the blind child
continued his labors,
and that the wrongdoer
received his just punishment,
Jupiter, president
of the assembly, said:
T order Madness,
from this moment forth,
to eternally be
Love’s guide. ’’
Neure maitena
Neure maitena, aranbeltz,
ortza txuri, begi beltz.
Nik zu maite, zuk ni ez.
Kontzientzian karga daukazu
neure penoken oinazez.
Nik zu maite, zuk ni ez.
My darling, brown hair,
white teeth, black eyes.
I love you, you do not love me.
On your conscience you bear
the suffering of my sorrows.
I love you, you do not love me.
Another requirement for the Tolosa Competition in the category of Polyphony is a work composed before 1800.
The expansive six-voice Sanctus of the Missapro defunctis by the Spanish master Victoria fulfills this requirement.
Sanctus, sanctus, sanctus Holy, holy, holy.
Dominus Deus Sabbaoth. Lord God of Sabaoth.
Pleni sunt coeli et terra Gloria tua. Heaven and earth are full of Thy glory.
Osanna in excelsis! Hosanna in the highest!
This evening’s concert closes with a performance of Mendelssohn’s Psalm 43, which will be performed in the
category of Polyphony, fulfilling the requirement of a work composed between 1801 and 1980. Psalm 43 (Richte
mich, Gott) is from a set of three a cappella Psalm settings composed between 1843 and 1844. This work features
antiphonal singing between men’s and women’s voices. They unite in a rich eight-part texture at the text “Sende
dein Licht” (“send out thy light”). The closing motif, set in D major on the text “Was betriibst du dich, meine
Seele...,” employs the same theme that Mendelssohn used in the fourth and seventh movements of his setting of
Psalm 42 for chorus and orchestra. The three Psalm settings of Opus 78, including Psalms 2 and 22, are considered
some of Mendelssohn’s finest a cappella writing.
Richte mich, Gott,undfiihre meine Sache
wider das unheilige Volk, und errette mich
von den falschen und bosen Leuten.
Denn du bist der Gott meiner Starke;
warum verstossest du mich?
Warum lassest du mich so traurig geh 'n,
wenn mein Feind mich drangt?
Sende dein Licht und deine Wahrheit,
dass sie mich leiten zu deinem heiligen Berge,
und zu deiner Wohnung.
Dass ich hineingehe zum Altar Gottes,
zu dem Gott, der meine Freude und Wonne ist,
und dir, Gott, auf der Harfe danke,
mein Gott.
Was betriibst du dich, meine Seele,
und bist so unruhig in mir?
Harre auf Gott! Harre auf Gott!
denn ich werde ihm noch danken,
dass er meines Angesichts Hiilfe,
und mein Gott ist.
Judge me, O God, and plead my cause
against an ungodly nation: and deliver me
from the deceitful and unjust people.
For thou art the God of my strength,
why dost thou cast me off?
Why do you let me go mourning,
because of the oppression of the enemy?
Send out thy light and thy truth,
that they may lead me unto thy holy hill,
and to thy dwelling place.
Then I will go unto the altar of God,
unto God, who is my exceeding joy and victoiy,
and you, God, upon the harp will I praise thee,
My God.
Why art thou cast down, O my soul,
and why art thou discpdeted within me?
Hope in God! Hope in God!
for I shall yet praise him,
who the health of my countenance,
and my God is.
Jazz Combos
9 / 19/06
8 p.m. Bird Hall
(no program)
Barry Bingham, Jr. Memorial Concert
Comstock Hall
September 23, 2006
(no program)
_ 2006 - 2007
HATTIE
endowed concert series
2006 - 2007
E
HATTIE
CO
44
endowed concert series
I
v m
O
"O
SPEED
For more than 60 years,The Hattie Bishop
Speed Concert Series has presented some
of the world’s finest classical musicians
from well-known performers to rising
stars. The Series is presented by the Speed
Art Museum and the Hattie Bishop Speed
Music Room Trust.
This season is dedicated to the memory
of Mr. James S. Welch, Speed Art Museum
Board of Govenors Emeritus and a great
supporter of the concert series.
Louisville Performances
Francois Le Roux & Mikhael Hallak
Sunday, September 24, 3 PM
Francois Le Roux & Mikhael Hal lak
Sunday, September24, 3 J 1 Jp
Frangois Le Roux began his vocal studies with Fran go is Loup at the age of 19,
and later studied under Vera Rosza and Elisabeth Grummer at the Opera Studio,
Paris. He is a winner of international competitions in Barcelona, and Rio de ^
Janeiro. A member of the Lyon Opera Company from 1980 to 1985, he since has
appeared with all the major European opera houses and festivals >
"Although hardly known here, the baritone Frangois Le Roux is an established
international figure, especially as Debussy's Pelleas, a role he has sung in many
productions - including the Los Angeles Opera's last season-and recorded. He
made an enjoyable New York debut on Monday evening' .
—Kenneth Furie, The New York Times
Olga Kern
Sunday, November 12, 3 PM
Miriam Fried & Jonathan Biss
Sunday, February 25, 2007, 4 PM
All performances will be held at the
University of Louisville School of Music
Comstock Hall. Free preconcert lectures
will be held in Bird Hall 45 minutes
before each concert.
TICKETING PROCEDURES AND POLICES
2006-2007
Museum members will be admitted free with membership
card on a first come, first served basis. Tickets for the
general public are S10 each
2006 - 2007
E
CO
HATTIE
I
O
SPEED
~D
endowed concert series
THE HATTIE BISHOP SPEED ENDOWED CONCERT SERIES
presents
Frangois Le Roux, Baritone
Mikhael Hallak, Piano
Sunday, September 24, 2006, 3:00 p.m.
Comstock Concert Hall, University of Louisville School of Music
Program
Quatre poemes d’Apollinaire Francis Poulenc (1899-1963)
L’Anguille
Carte postale
Avant le cinema
1904
Le Bestiaire Francis Poulenc
Le dromadaire
Le chevre du Thibet
La sauterelle
Le Dauphin
L’ecrevisse
La Carpe
L’Horizon chimerique Gabriel Faure (1845-1924)
La mer est infinie...
Je me suis embarque...
Diane, Selene...
Vaisseaux, nous vous aurons aimes...
Serenade Henri Duparc (1848-1933)
Lamento
Chanson triste
Intermission
Trois Ballades de Villon Claude Debussy (1862-1918)
Deux epigrammes de Clement Marot Maurice Ravel (1875 1937)
Ronsard a son ke
Chansons gaillardes
La maitresse volage
Chanson a boire
Madrigal
Invocation aux Parques
Couplets bachiques
L’offrande
La belle jeunesse
Serenade
Francis Poulenc
Francois Le Roux and Mikhael Hallak appear by arrangement through Matthias Vogt Artists’
Management, 720 Gough Street #56, San Francisco, CA 94102.
This season is dedicated to the memory of Mr. James S. Welch, Speed Art Museum Board of
Governors Emeritus and a great supporter of the concert series.
TEXTS AND TRANSLATIONS
Francis Poulenc
Quatre poemes d’Apollinaire
L’anguille
Jeanne Houhou la tres gentille
Est morte entre des draps tres blancs
Pas seule Bebert dit l’Anguille
Narcisse et Hubert le merlan
Pres d’elle faisaient leur manille
The Eel
Jeanne Houhou the very demure
Died between the whitest of sheets
Not alone Bebert alias the Eel
Narcissus and Hubert the whiting
Played manille close by her side
And the swanky Clichy woman
With the vomit-red eyes
Throws up my Vichy water
Goes in the Black Maria
Haha without a fuss
Et la craneuse de Clichy
Aux rouges yeux de degueulade
Repete “Mon eau de Vichy”
Va dans le panier a salade
Haha sans faire de chichi
Les yeux dansant comme des anges
Elle riait, elle riait
Les yeux tres bleus les dents tres blanches
Si vous saviez, si vous saviez
Tout ce que nous ferons dimanche
Carte postale
L’ombre de la tres douce est evoquee ici,
Indolente, et jouant un air dolent aussi:
Nocturne ou lied mineur qui fait pamer son ame
Dans l’ombre ou ses longs doigts font mourir
une gamme
Au piano qui geint comme une pauvre femme
Avant le cinema
Et puis ce soir on s’en ira au cinema
Les Artistes que sont-ce done
Ce ne sont plus ceux qui cultivent les Beaux-arts
Ce ne sont pas ceux qui s’occupent de l’Art
Art poetique ou bien musique
Les Artistes ce sont les acteurs et les actrices
Si nous etions des Artistes
Nous ne dirions pas le cinema
Nous dirions le cine
Mais si nous etions de vieux professeurs de province
Eyes dancing like angels
She laughed and laughed
Her eyes very blue her teeth very white
If only you knew if only you knew
Just what we’ll do on Sunday
Postcard
Lo, the shade of the sweetest being is here evoked
Indolent and playing a doleful air too:
Nocturne or lied in the minor key making her
soul swoon
Down beneath her long fingers in the shade a
scale is dying
At the piano which whimpers like a poor woman
Before the cinema
And then this evening we’ll go to the cinema
But who are these Artistes
No longer those who cultivate the Fine Arts
Nor those concerned with Art
The art of poetry or even music
The Artistes are actors and actresses
If we were Artistes
We would not say the cinema
We would say the cine
But if we were old professors from the provinces
2
Nous ne dirions ni cine ni cinema
Mais cinematographe
Aussi mon Dieu faut-il avoir du gout
1904
A Strasbourg en dix-neuf-cent-quatre
J’arrivai pour le lundi gras
A l’hotel m’assis devant l’atre
Pres d’un chanteur de 1’Opera
Qui ne parlait que de theatre
La Kellnerine rousse avait
Mis sur sa tete un chapeau rose
Comme Hebe qui les dieux servait
N’en eut jamais O belles choses
Carnaval chapeau rose Ave!
A Rome a Nice et a Cologne
Dans les fleurs et les confetti
Carnaval j’ai revu ta trogne,
6 roi plus riche et plus gentil
Que Cresus Rothschild etTorlogne
Je soupai d’un peu de foie gras
De chevreuil tendre a la compote
De tartes flans et cetera
Un peu de kirsch me ravigote
Que ne t’avais-je entre mes bras.
Francis Poulenc
Le Bestiaire
Le dromadaire
Avec ses quatre dromadaires
Don Pedro d’Alfaroubeira
Courut le monde et l’admira.
II fit ce que je voudrais faire
Si j’avais quatre dromadaires.
La chevre du Thibet
Les poils de cette chevre et meme
Ceux d’or pour qui prit tant de peine
Jason, ne valent rien au prix
Des cheveux dont je suis epris.
We would say neither cine nor cinema
But cinematograph
My word we must have taste and how
1904
In Strasbourg in 1904
I arrived for Shrove Monday
At the hotel sat down by the fireside
Next to a singer from the Opera
Who spoke only of theatre
The red-haired bar maid had
Put a pink hat on her head
Such as Hebe who served the gods
Never posessed O lovely things
Carnival pink hat all hail!
At Rome and Nice and Cologne
In flowers and confetti
Carnival I’ve seen your fat face again
O King richer and kinder
Than Croesus Rothschild andTorlonia
I dined on a little foie gras
On tender venison with compote
On baked-custard tarts etc.
A little kirsh jazzes me up
If only I’d had you in my arms.
The dromedary
With his four dromedaries
Don Pedro de Alfarrobeira
Roamed the world and admired it.
He did what I would like to do
If I had four dromedaries too.
The Tibetan goat
The hair of this goat and even
The golden hair that so preoccupied
Jason, cannot match
The head of hair I am smitten with.
3
La sauterelle
Void la fine sauterelle,
La nourriture de saint Jean.
Puissant mes vers etre comme elle,
Le regal des meilleures gens.
Le Dauphin
Dauphins, vous jouez dans la mer,
Mais le flot est toujours amer.
Parfois, ma joie eclate-t-elle?
La vie est encore cruelle.
L’ecrevisse
Incertitude, 6 mes delices
Vous et moi nous nous en allons
Comme s’en vont les ecrevisses,
A reculons, a reculons.
La Carpe
Dans vos viviers, dans vos etangs,
Carpes, que vous vivez longtemps!
Est-ce que la mort vous oublie,
Poissons de la melancolie.
The grasshopper
Behold the delicate grasshopper,
The food Saint John was wont to eat
May my verse likewise be,
A feast for the elite.
The dolphin
Dolphins, you play in the sea,
Though the waves are briny.
Does my joy at times erupt?
Life is still cruel.
The crayfish
Uncertaintly, O! my delights,
You and I we progress
As crayfish progress,
Backwards, backwards.
The carp
In your pools, in your ponds,
Carp, how you live for aeons!
Does death forget you
Fish of melancholy?
The chimeric horizon
Gabriel Faure
L’Horizon chimerique
La mer est infinie...
La mer est infinie et mes reves sont fous.
La mer chante au soleil en battant les falaises
Et mes reves legers ne se sentent plus d’aise
De danser sur la mer comme des oiseaux souls.
Le vaste mouvement des vagues les
emporte,
La brise les agite et les roule en ses plis;
Jouant dans le sillage, ils feront une escorte
Aux vaisseaux que mon coeur dans leur fuite a
suivis.
Ivres d’air et de sel et brules par l’ecume
De la mer qui console et qui lave
les pleurs,
Ils connaitront le large et sa bonne
amertume;
Les goelands perdus les prendront pour des leurs.
Je me suis embarque...
Je me suis embarque sur un vaisseau qui danse
The sea is infinite...
The sea is infinite and my dreams are mad.
The sea sings to the sun while beating the cliffs
and my light dreams are no longer content
to dance on the sea like drunken birds.
The vast movement of the waves carries them
away,
the breeze stirs and rolls them in its folds;
playing in the wake, they will form an escort
to the ships which my heart has followed on their
flight.
Intoxicated by air and salt and burnt by the foam
of the sea which consoles and which washes away
the tears,
they will know the open sea and its kindly
bitterness;
the lost seagulls will mistake them for their own.
I have embarked...
I have embarked on a ship which dances
Et qui roule bord sur bord et tangue et se
balance.
Mes pieds ont oublie la terre et ses chemins;
Les vagues souples m’ont appris d’autres
cadences
Plus belles que le rythme las des chants humains.
A vivre parmi vous, helas! avais-je une ame?
Mes freres, j’ai souffert sur tous vos continents.
Je ne veux que la mer, je ne veux que le vent
Pour me bercer comme un enfant, aux creux des
lames.
Hors du port qui n’est plus qu’une
image effacee,
Les larmes du depart ne brulent plus mes yeux.
Je ne me souviens pas de mes demiers adieux...
O ma peine, ma peine, ou vous ai-je laissee?
*Diane, Selene...
Diane, Selene, lune de beau metal,
Qui reflete vers nous, par ta face deserte,
Dans Pimmortel ennui du calme sideral,
Le regret d’un soleil dont nous pleurons la perte,
O lune, je t’en veux de ta limpidite
Injurieuse au trouble vain des pauvres ames,
Et mon coeur, toujours las et toujours agite,
Aspire vers la paix de ta nocturne flamme.
Vaisseaux, nous vous aurons aimes...
Vaisseaux, nous vous aurons aimes en pure perte;
Le dernier de vous tous est parti sur la mer.
Le couchant emporta tant de
voiles ouvertes
Que ce port et mon coeur sont a jamais
deserts.
La mer vous a rendus a votre destinee,
Au dela du rivage ou s’arretent nos pas.
Nous ne pouvions garder vos ames enchainees;
II vous faut des lointains que je ne connais pas.
Je suis de ceux dont les desirs sont sur la terre.
Le souffle qui vous grise emplit mon coeur
d’effroi,
Mais votre appel, au fond des soirs,
me desespere,
Car j’ai de grands departs inassouvis en moi.
and which rolls from side to side and pitches and
swings.
My feet have forgotten the the ground and its
paths;
the supple waves have taught me other rhythms
more beautiful than the weary beat of human songs.
To live among you, alas! Had I a soul?
My brothers, I have suffered on all your continents.
I only want the sea, I only want the wind
to cradle me like a child in the trough of the
waves.
Out of the harbour which is now no more than a
faded picture
the tears of departure no longer bum my eyes.
I do not remember my last farewells...
Oh my suffering, my suffering, where have I left you?
Diana, Selene...
Diana, Selene, moon of radiant metal,
who reflects towards us, by your deserted face,
in the unending monotony of the sidereal calm,
the regret of a sun for whose loss we weep.
O moon, I begrudge you your purity
harmful to the vain efforts of the poor souls,
and my heart, ever weary and ever restless,
longs for the peace of your nocturnal flame.
Ships, we shall have loved you...
Ships, we shall have loved you to no avail;
the last of you all has gone to sea.
The setting of the sun has carried away so many
hoisted sails
that this harbour and my heart are forever
deserted.
The sea has restored you to your destiny,
beyond the shore where our steps must end.
We cannot keep your spirits captive;
you need distant places which I do not know.
I am one of those whose desires are on land.
The breeze which intoxicates you fills my heart
with fear,
but your call, in the depth of the evening, makes
me despair,
for I have great departures unfulfilled within me.
*Diana in Roman legend, Silene in Greek. She was the moon goddess.
5
Henri Duparc
Serenade
(Gabriel Marc)
Si j’etais, 6 mon amoureuse,
La brise au souffle parfume,
Pour froler ta bouche rieuse, ^
Je viendrais craintif et charme.
Si j’etais l’abeille qui vole,
Ou le papillon seducteur,
Tu ne me verrais pas, frivole,
Te quitter pour une autre fleur.
Si j’etais la rose charmante
Que ta main place sur ton coeur,
Si pres de toi toute tremblante
Je me fanerais de bonheur.
Mais en vain je cherche a te plaire,
J’ai beau gemir et soupirer.
Je suis homme, et que puis-je faire? -
T’aimer...Te le dire ... Et pleurer!
Lamento
(Theophile Gautier)
Connaissez-vous la blanche tombe,
Ou flotte avec un son plaintif l’ombre d’un if?
Sur l’if une pale colombe,
Triste et seule au soleil couchant, chante son chant
On dirait que Fame eveillee
Pleure sous terre a l’unisson de la chanson,
Et du malheur d’etre oubliee
Se plaint dans un roucoulement bien doucement.
Ah! jamais plus pres de la tombe,
Je n’irai, quand descend le soir au manteau noir,
Ecouter la pale colombe
Chanter sur la pointe de l’if son chant plaintif.
Serenade
If, my beloved, I were
The scented breeze,
I would come, timid and rapt,
To brush your laughing lips.
If I were a bee in flight,
Or a beguiling butterfly,
You would not see me skittishly
Leave you for another flower.
If I were the charming rose
Our hand placed on your heart,
I would, quivering so close to you,
Wither with happiness.
But I seek in vain to please you,
I vain, I moan and sigh.
I am a man, and what can I do?
Love you...Confess my love...And cry!
Lament
Do you know the white tomb,
Where the shadow of a yew waves plaintively?
On the yew a pale dove,
Sad and solitary at sundown sings its song.
As if awakened soul
Weeps from the grave, together with the song,
And at the sorrow of being forgotten
Murmurs its complaint most meltingly.
Ah! nevermore shall I approach that tomb,
When evening descends in its black cloak,
To listen to the pale dove
On the branch of the yew sing its plaintive song!
6
Chanson triste
(Jean Lahor)
Dans ton coeur dort un clair de lune,
Un doux clair de lune d’ete,
Et pour fuir la vie importune,
Je me noierai dans ta clarte.
J’oublierai les douleurs passees,
Mon amour, quand tu berceras
Mon triste coeur et mes pensees
Dans le calme aimant de tes bras.
Tu prendras ma tete malade,
Oh! quelquefois, sur tes genoux,
Et lui diras une ballade
Qui semblera parler de nous;
Et dans tes yeux pleins de tristesse,
Dans tes yeux alors je boirai
Tant de baisers et de tendresse
Que peut-etre je guerirai.
Claude Debussy
Trois Ballades de Francois Villon
Ballade de Villon a s’amye
Faulse beaute, qui tant me couste cher,
Rude en effect, hypocrite doulceur,
Amour dure, plus que fer, a mascher;
Nommer que puis de ma deffagon soeur.
Charme felon, la mort d’ung povre cueur,
Orgueil musse, qui gens met au mourir,
Yeulx sans pitie! ne veult droict de rigueur
Sans empirer, ung povre secourir?
Mieulx m’eust valu avoir este crier
Ailleurs secours, c’eust este mon bonheur:
happy. Rien ne m’eust sceu de ce fait arracher;
Trotter m’en fault en fuyte a deshonneur.
Haro, haro, le grand et le mineur!
Et qu’est cecy? mourray sans coup ferir,
Ou pitie peult, selon ceste teneur,
Sans empirer, ung povre secourir?
Ung temps viendra, qui fera desseicher,
Jaulnir, flestrir, vostre espanie fleur:
Song of sadness
Moonlight slumbers in your heart,
A gentle summer moonlight,
And to escape the cares of life
I shall drown myself in your light
I shall forget past sorrows,
My sweet, when you craddle
My sad heart and my thoughts
In the loving calm of your arms.
You will rest my poor head,
Ah, sometimes on your lap,
And recite to it a ballad
That will seem to speak of us;
And from your eyes full of sorrow,
From your eyes I shall then drink
So many kisses and so much love
That perhaps I shall be healed.
Three Ballads of Francois Villon
Ballad ofVillon to his love
False beauty for whom I pay so great a price,
Harsh, in truth, behind a mask of sadness
A love that’s tougher to chew than steel,
I name you sister of my undoing.
Criminal charm, death of my poor heart,
Hidden pride that sends folk to their destruction,
Eyes devoid of pity-will not justice
Help a poor man without crushing him?
It had been better to have begged
For help elsewhere, it might have made me
Nothing could snatch me from this fate.
Now I must retreat in shame.
Help me, help me, one and all!
But what? Am I to die and not strike a blow?
Or will pity, softened by these sad words,
Help a poor man without crushing him?
A time will come that will dry up,
Fade, and wither your full-blown flower:
7
J’en risse lors, se tant peusse marcher,
Mais las! nenny: ce seroit done foleur,
Vieil je seray; vous, laide et sans couleur.
Or, beuvez, fort, tant que ru peult courir.
Ne donnez pas a tous ceste douleur
Sans empirer, ung povre secourir.
Prince amoureux, des amans le greigneur,
Vostre mal gre ne vouldroye encourir;
Mais tout franc cueur doit, par Nostre Seigneur,
Sans empirer, ung povre secourir.
Ballade que Villon feit a la requeste
de sa mere pour prier Nostre-Dame
Dame du ciel, regente terrienne,
Emperiere des infernaulx palux,
Recevez-moi, vostre humble chrestienne,
Que comprinse soye entre vos esleuz,
Ce non obstant qu’oncques riens ne valuz.
Les biens de vous, ma dame et ma maistresse,
Sont trop plus grans que ne suys pecheresse,
Sans lesquelz bien ame ne peult merir
N’avoir les cieulx, Je n’en suis menteresse.
En ceste foy je vueil vivre et mourir.
A vostre Filz dictes que je suys sienne;
De luy soyent mes pechez aboluz:
Pardonnez-moi comme a l’Egyptienne,
Ou comme il feut au clercTheophilus,
Lequel par vous fut quitte et absoluz,
Combien qu’il eust au diable faict promesse.
Preservez-moy que je n’accomplisse ce!
Vierge portant sans rompure encourir
Le sacrement qu’on celebre a la messe.
En ceste foy je vueil vivre et mourir.
Femme je suis povrette et ancienne,
Qui riens ne s?ay, oneques lettre ne leuz;
Au moustier voy dont suis paroissienne,
Paradis painct ou sont harpes et luz,
Et ung enfer ou damnez sont boulluz:
Lung me faict paour, 1 aultre joye et liesse.
La joye avoir fais-moy, haulte Deesse,
A qui pecheurs doivent tous recourir,
Comblez de foy, sans faincte ne paresse.
En ceste foy je vueil vivre et mourir.
Then I shall laugh, if I can still laugh.
But alas! Nay-that would be folly:
I shall be old; you ugly and wan.
So drink deep, while the river still runs.
Don’t give this pain to anyone else-
Help a poor man without crushing him
Prince of lovers, greatest of them all,
I had sooner not incur your wrath,
But every honest heart should, by our Lord,
Help a poor man without crushing him.
Ballad made at his mother’s request
for a prayer to our lady
Lady of heaven, Regent of earth,
Empress of the infernal swamps
Take me, your humble Christian,
To be numbered among your elect,
Thought my worth has been as nothing.
Your mercy, my lady and my mistress,
Is much greater than my sinfulness,
Without it no soul can merit
Nor enter Heaven, I do not lie.
In this faith I wish to live and die.
Say to your Son that I am his,
By him may my sins be pardoned.
May he forgive me as he forgave the Egyptian woman,
Or the clerk Theophilus,
Who was acquitted and absolved by you,
Though he had made a pact with Satan.
Preserve me from doing such a thing,
Virgin, who bore without incurring blemish
The sacrament we celebrate at mass.
In this faith I wish to live and die.
I am a poor old woman,
Ignorant and unlettered.
In my parish church I see
A painted paradise with harps and lutes,
And a hell where the damned are boiled:
One fills me with fright,the other with joy and bliss.
Let me have that joy, high Goddess,
To whom all sinners in the end must come,
Full of faith, without hypocrisy or sloth.
In this faith I wish to live and die.
8
Ballade des femmes de Paris
Quoy qu’on tient belles langagieres
Florentines, Veniciennes,
Assez pour estre messaigieres,
Et mesmement les anciennes;
Mais, soient Lombardes, Romaines,
Genevoises, a mes perils,
Piemontoises, Savoysiennes,
II n’est bon bee que de Paris.
De beau parler tiennent chayeres,
Ce dit-on Napolitaines,
Et que sont bonnes cacquetieres
Allemandes et Bruciennes;
Soient Grecques, Egyptiennes,
De Hongrie ou d’aultre pais,
Espaignolles ou Castellannes,
II n’est bon bee que de Paris.
Brettes, Suysses, n’y sgavent guerres,
Ne Gasconnes etTholouzaines;
Du Petit Pont deux harangeres
les concluront, et les Lorraines,
Anglesches ou Callaisiennes,
(ay-je beaucoup de lieux compris?)
Picardes, de Valenciennes...
II n’est bon bee que de Paris.
Prince, aux dames parisiennes,
De bien parler donnez le prix;
Quoy qu’on die d’ltaliennes,
II n’est bon bee que de Paris.
Maurice Ravel
Deux epigrammes de Clement Marot
D’Anne qui me jecta de la neige
Anne par jeu me jecta de la neige
Que je cuidoys froide certainement:
Mais e’estoit feu, l’experience en ay-je
Car embrase je fuz soubdainement
Puisque le feu loge secretement
Dedans la neige, ou trouveray-je place
Pour n’ardre point? Anne, ta seule grace
Estaindre peut le feu que je sens bien
Non point par eau, par neige, ne par glace,
Mais par sentir ung feu pareil au mien.
Ballad of the women of Paris
Though they be reckoned good talkers,
Florentine and Venetian women,
Good enough to be go-between,
Even the ancient women too;
And be they Lombards or Romans
Or Genovese, I say to my peril,
Or Piedmontese or Savoyards-
There is no tongue like a Parisian one.
Chairs in the art of fine chatter, they say,
Are held by the women of Naples,
While those from Germany and Prussia
Are very good at prattle.
Yet be they Greek, Egyptian,
From Hungary or other lands,
Spanish or Catalonian-
There is no tongue like a Parisian one.
Bretons and Swiss are mere beginners,
Like Gascons and Toulousians;
Two jabberers on the Petit Pont
Would silence them, and Lorrainers, too,
And women from England and from Calais
(I’ve named a lot of places, eh?),
From Picardy andValencienne...
There is no tongue like a Parisian one.
Prince, to the ladies of Paris
Present the prize for fine chatter;
Whatever is said of Italians,
There is no tongue like a Parisian one.
On Anne who threw snow at me
Anne in play threw snow at me,
Which I certainly thought cold:
But what I felt from it was fire,
For suddenly I was all aflame.
Since fire dwells secretly
In the snow, where shall I find a place
Where I’ll not bum? Anne, your favour alon
Can quench the flame I so keenly feel,
Not water nor snow nor ice,
But by feeling a fire which matches mine.
9
D’Anne jouant de l’espinette
Lorsque je voy en ordre la brunette
Jeune, en bon point, de la ligne des Dieux,
Et que sa voix, ses doigts et l’espinette
Meinent ung bruyct doulx et melodieux,
J’ay du plaisir, et d’oreilles et d’yeulx
Plus que les sainctz en leur gloire immortelle
Et autant qu’eulx je devien glorieux
Des que je pense estre ung peu ayme d’elle.
On Anne playing the spinet
When I see my neat and dark-haired lady,
Young, comely, of divine lineage,
And when her voice, her fingers and the spinet
Make a sweet melodious sound,
My ears and eyes know better pleasure
Than the saints in their immortal glory:
And I become as glorious as they,
The moment I feel she loves me a little.
Ronsard a son ame
Amelette Ronsardelette,
Mignonnelette, doucelette,
Tres chere hostesse de mon corps,
Tu descens la-bas, faiblelette,
Pasle, maigrelette, seulette,
Dans le froid royaume des mors;
Toutes fois simple, sans remors
De meurtre, poison, et raucune,
Meprisant faveurs et tresors,
Tant enviez par la commune.
Passant, j’ay dit: suy ta fortune,
Ne trouble mon repos, je dors.
Francis Poulenc
Anonymous Seventeenth Century Poems
Chansons gaillardes
La maitresse volage
Ma maitresse est volage,
Mon rival est heureux;
S’il a son pucellage,
C’est qu’elle en avait deux.
Et vogue la galere,
Tant qu’elle pourra voguer.
Chanson a boire
Les rois d’Egypte et de Syrie,
Voulaient qu’on embaumat leurs corps,
Pour durer plus longtemps morts.
Quelle folie!
Buvons done selon notre envie,
II faut boire et reboire encore. ’
Buvons done toute notre vie,
Ronsard to his soul
Dear little Ronsardian soul
Little sweet one, little soft one,
My body’s dearest denizen,
You go so weakly down to the depths,
So pale, so meagre, so lonely,
To the cold kingdom of the death:
All simple time, unburdened by remorse
For murder, poison, and bitterness,
Scorning favours and riches,
So greatly envied by the common man.
Passer-by, I have done: follow your fortune,
Do not disturb my rest, I sleep.
The fickle mistress
My mistress is fickle
My rival fortunate;
If he takes her virginity
She must have had two.
Let’s ride our luck
As long as it lasts!
Drinking song
The kings of Egypt and Syria,
Wished to have their bodies embalmed,
To last longer dead.
What folly!
So let’s drink as we wish,
We must drink and drink again.
So let’s drink throughout our life,
10
Embaumons-nous avant la mort.
Embaumons-nous;
Que ce baume est doux.
Embalm ourselves before we die.
Embalm ourselves;
Since this balm is sweet.
Madrigal
Vous etes belle comme un ange,
Douce comme un petit mouton;
11 n’est point de coeur, Jeanneton,
Qui sous votre loi ne se range.
Mais une fille sans tetons
Est une perdrix sans orange.
Madrigal
You are as beautiful as an angel,
Gentle as a little lamb;
There is not a heart, Jeanneton,
That can resist your spell.
But a girl without tits
Is a partridge without orange.
Invocation aux Parques
Je jure, tant que je vivrai,
De vous aimer, Sylvie.
Parques, qui dans vos mains tenez
Le fil de notre vie,
Allongez, tant que vous pourrez,
Le mien, je vous en prie.
Invocation to the fates
I swear as long as I live,
To love you, Sylvie.
Fates, who hold in your hands
The thread of our life,
Make mine as long as you can,
I pray.
Couplets bachiques
Je suis tant que dure le jour
Et grave et badin tour a tour.
Quand je vois un flacon sans vin,
Je suis grave, je suis grave,
Est-il tout plein, je suis badin.
Bacchic verses
Throughout the livelong day
I’m sad and merry in turn.
When I see a flacon without wine
I’m sad, I’m sad,
When it’s brimful I’m merry.
Je suis tant que dure le jour
Et grave et badin tour a tour.
Quand ma femme me tient au lit,
Je suis sage, je suis sage,
Quand ma femme me tient au lit
Je suis sage toute la nuit.
Throughout the livelong day
I’m sad and merry in turn.
When I’m in bed with my wife
I behave, I behave,
When I’m in bed with my wife,
I behave all night long.
Si catin au lit me tient
Alors je suis badin
Ah! belle hotesse, versez-moi du vin
Je suis badin, badin, badin.
If I’m in bed with a whore,
Then I’m merry.
Ah! Fair hostess, pour me some wine,
I’m merry, merry, merry.
L’offrande
Au dieu d’Amour une pucelle
Offrit un jour une chandelle,
Pour en obtenir un amant.
Le dieu sourit de sa demande
Et lui dit: Belle en attendant
Servez-vous toujours de l’offrande.
The offering
A virgin to the God of Love
Offered one day a candle
That she might acquire a lover.
The God smiled at her request
And said to her; while you wait, my pretty thing,
Avail yourself of the offering.
11
La belle jeunesse
II fut s’aimer toujours
Et ne s’epouser guere.
II faut faire l’amour
Sans cure ni notaire.
Cessez, messieurs, d’etre epouseurs,
Ne visez qu’aux tirelires,
Ne visez qu’aux tourelours,
Cessez, messieurs, d’etre epouseurs,
Ne visez qu’aux coeurs
Cessez, messieurs, d’etre epouseurs,
Hola messieurs, ne visez plus qu’aux coeurs.
Pourquoi se marier,
Quand la femme des autres
Ne se font pas prier
Pour devenir les notres.
Quand leurs ardeurs,
Quand leurs faveurs,
Cherchent nos tirelires,
Cherchent nos tourelours,
Cherchent nos coeurs.
Serenade
Avec une si belle main,
Que servent tant de charmes,
Que vous tenez du dieu malin,
Bien manier les armes.
Et quand cet Enfant est chagrin
Bien essuyer ses larmes.
Gilded youth
You should always love
And seldom marry.
You should make love
Without priest or notary.
Cease, good sirs, your wooing,
Aim only at the money box,
Aim only at the money box
Cease, good sirs, your wooing,
Aim only at the heart,
Cease, good sirs, your wooing,
Enough, aim henceforth only at the heart.
Why marry,
When other’s wives
Need no persuading
To become ours.
When their ardours,
When their favours
Seek our money box
Seek our money box
Seek our hearts.
Serenade
With so fair a hand,
Possessed of such charms,
You should easily handle the arrows
Well handle the weapons.
And when this child is sorrow
Wipe away his tears.
12
Program Notes by Scott Moore
The term for the French art song, melodie, is both appropriate and potentially misleading for
in the songs of composers from Berlioz to Boulez, the music does not derive its subtle ’
potency merely from the poetic beauty of a well-turned melodic line. Added to this are a
rhythmic suppleness inspired by speech and a harmonic richness which creates a magical
space within the listener and imbues it with colors more real than those seen. In the best
cases, the words and sounds combine effortlessly to appeal to all the senses, to invite us
through any of a thousand portals on our way to moonlit, flower-perfumed gardens, exotic
faraway cities, forgotten epochs, bustling Parisian streets, or to turn us inward to the tender
memories of youth and the mysteries of love and life. Yet nostalgia never gives way to
gloomy introspection, and the music, at times profound, is always “leavened” by what
Poulenc called “that lightness of spirit without which life would be unendurable.”
The world of the melodie is one of pervasive, sumptuous variety—not only of subject matter,
but of character—from one setting to the next, from one composer or poet to another. The
songs which comprise this program all appeared within the span of a single lifetime, from
1868 to 1943. Yet this small sampling is a gourmet feast, exquisitely prepared, to be savored
with enthusiasm by any and all. The presentation and flavors are quintessentially French, to
be sure; but more than that, they are essentially human. For it is the primacy of the human
voice and the inherent love of song which truly give the melodie its name and its appeal,
which predate the genre’s distant roots in the unadorned melodies of the troubadours—and
which endure beyond any single language.
In the case of Poulenc, it was the voice—specifically that of poet Guillame Apollinaire—
which served as inspiration for the settings of works like Le Bestiare and Quatre Poemes.
The painter Marie Laurecin, one of Apollinaire’s great loves, hearing the composer’s setting
of six quatrains from Le Bestiare, wrote that she “could believe it is Guillaume’s voice
speaking these verses.” Poulenc captures the voice of the poet and allows it to speak for
itself, while at the same time retaining his own rather distinctive means of expression.
Indeed, music works hand in hand with poetry, filling the spaces around and between the
words—a coordination not unlike that achieved by Raoul Dufy’s woodcut illustrations,
published alongside the quatrains—to form a whole greater than the sum of its parts. This
natural affinity surely owes something to commonalities of personality and experience; a
mischievous sense of humor, as well as a deep love for and intimate knowledge of Parisian
life, are traits which left an indelible mark on the lives and work of both poet and composer.
Within the world of Quatre Poemes, for instance, UAnguille conjures up a shady hotel of the
Paris underworld; Avant le cinema pokes fun at the intellectual snobbery of a certain set;
while the poignant nostalgia of Carte postale and 1904 provides wonderful contrast. In fact,
while at times Poulenc (and the surrealist poets whose works he often set) has been accused
of flippancy or “leg-Poulenc” (a pun the composer was himself fond of), nevertheless there is
nearly always an element of nostalgia, a self-conscious lyricism, lying just below the surface
frivolity or vulgarity.
Exceptions, however, do occur. Indeed, exception may be taken by some to such a work as
Chansons gaillardes —settings of anonymous texts of the seventeenth century which
13
gleefully extol the pleasures of wine and women with enthusiastic drinking songs and thinly-
veiled, scandalous double-entendres. Regardless of subject, we may observe the same
thorough attention to text on the part of the composer. The musical idiom, with no hint of
medieval pastiche, is unmistakably Poulenc.
The galliards concerned themselves with nothing but mirthful revelry. Apollinaire supported
himself by writing pornographic novels, and once spent six days in a Paris prison for
allegedly having a hand in the theft of the Mona Lisa from the Louvre (he was eventually
cleared). In comparison, the fifteenth-century poet Franpois Villon gives up nothing; most of
what we know about him, outside of his (often off-color) verse, is from police accounts of
brawls and heists. Yet the Trois Ballades selected by Debussy for his song settings reveal a
remarkably wide-ranging artistic vision. In the second—a prayer to the Virgin Mary written
by Villon for his mother at the latter’s request—Debussy masterfully evokes the austere
reverence and ritual of medieval Catholicism; one may almost touch the cold stone walls of
the cathedral, where shadows dance in the candle-lit, incense-suffused murkiness.
The other selections are no less effective; the music perfectly conveys the bitterness of a
slighted lover, or the gay chatter of the much-praised Parisian women. In all cases, Debussy’s
unique style is immediately discemable, yet by careful use of certain techniques (consecutive
fifths and octaves, and the “church modes”) he imparts a subtle medieval flavor to the music.
Ravel adopts a similar approach for his settings of the medieval poet Clement Marot,
blending old and new into something at once unique. In the carefully etched figuration and
sparkling rhythmic nuances we may hear echoes of the old French clavecinists-—or perhaps
envision that “Anne who threw snow at me” and “played the spinet.” Despite certain
common threads, different techniques and above all different personalities make the works
of these two great contemporaries quite distinguishable.
Likewise, personality defines the songs of Henri Duparc. This small collection comprises
some fourteen works—all written between 1868 and 1885—which at once open a window
to an intensely personal world. Perhaps the same depths of emotion and moving sensitivity
which give these songs their power proved too much for Duparc, who spent nearly a half-
century in compositional silence before his death in 1933. In this music, unlike that of a
Poulenc or a Debussy, there is little of wit, sensuality, or exoticism to temper the weightier,
more poignant aspects. With lush, chromatic harmonies, a haunting vocal line, waves of
arpeggios that seem to rise and fall with the pull of a luminous moon, a song like Chanson
tiiste, Dupaic s earliest published work, strikes the perfect balance between elegance and
emotion. It is as if the composer is responding with a wonderful affirmative to Saint-Saens’
query: “Can song not emerge from poetry as a kind of blossoming?” This is surely the
essence of the melodie itself, this blossoming: a thousand colors bloom for our enjoyment,
and the sweet nectar is ambrosia for us to savor.
14
Olga Kern _
Sunday, November 72, 3 PM
In 2001, at the Van Cliburn International Piano Competition, this
Russian pianist became the first woman to be awarded a gold medal
in over 30 years. She held audiences enthralled and had critics
writing about “Olgamania.”
"Kern's musicality radiates off the stage and saturates the hall,
and it is joyously alive, immediately communicative, fragrantly
sensual, and almost visual in its intensity. Call it star quality,
music likes Kern the way the camera liked Carbo."
—Keith Powers, Boston Herald
Miriam Fried & Jonathan Biss
Sunday, February 25, 2007, 4 PM
This mother and son duo has received accolades for their
interpretation of works by Mozart and Bartok.
HATTIE S
I
O
~D
SPEED
The Speed Art Museum is
pleased to present another
exciting year of the Hattie Bishop
Speed Endowed Concert Series.
This year's recitals feature an
array of classical music from
diverse performers, all renowned
and recommended.
Sponsored by
The Hattie Bishop Speed
Music Room Trust
/ have always considered her one of the major musicians on the violin
in our time...In her students, I always see evidence of the best qualities
of musical intelligence."
—Isaac Stern, violinist
_ 2006 - 2007
HATTIE
endowed concert series
m
CO
I
|A m 1
O
SPEED
"O
Edith Tidwell
Francis Le Roux
Pre-concert Lecture
2 p.m.
Bird Hall
September 24, 2006
(no program)
School of
music
INIVERSIIYof IQUISVILLE
dare to be great
presents
University
Symphony Orchestra
Kimcherie Lloyd, director
with special guests
J. Patrick Rafferty, violin
Dr. Naomi Oliphant, piano
Sunday Evening
September 24, 2006
7:30 p.m.
Margaret Comstock Concert Hall
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this evening.
Smoking is not permitted in the School of Music building-
In the unlikely event of fire or other emergency, please walk to the n earesi ex ’ t -
The use of recording devices and flash photography is strictly prPhibited.
Please silence cell phones, electronic watches and pag^-
Thank you.
PROGRAM
Musica Celestis (1990)
Aaron Jay Kemis
(b. 1960)
Partita for Violin and Orchestra Witold Lutoslawski
I. Allegro giusto (1913-1994)
II. Ad Libitum
HI. Largo
IV. Ad Libitum
V. Presto
J. Patrick Rafferty, Violin
with Naomi Oliphant, Piano
INTERMISSION
Enigma Variations, Op. 36
Andante
I.
(C.A.E.)
L'istesso tempo
n.
(H.D.S-P.)
Allegro
in.
(R.B.T.)
Allegretto
IV.
(W.M.B.)
Allegro di Molto
V.
(R.P.A.)
Moderato
VI.
(Ysobel)
Andantino
vn.
(Troyte.)
Presto
vin. (w.n.)
Allegretto
DC.
(Nimrod)
Adagio
X.
(Dorabella)
Intermezzo. Allegretto
XI.
(G.R.S.)
Allegro di molto
xn.
(B.G.N.)
Andante
xm. (***)
Romanza. Moderato
xrv.
(E.D.U.)
Finale. Allegro
Edward Elgar
(1857-1934)
Musica Celestis for String Orchestra
Aaron Jay Kemis
Musica Celestis is inspired by the medieval conception of that phrase, which
refers to the singing of the angels in heaven in praise of God without end.
("The office of singing pleases God if it is performed with an attentive mind,
when in this way, we imitate the choirs of angels who are said to sing the
Lord's praises without ceasing." - Aurelian of Reome, translated by
Barbara Newman.) I don't particularly believe in angels, but found this
to be a potent image that has been reinforced by listening to a good deal
of medieval music, especially the soaring work of Hildegard of Bingen
(1098 - 1179). Musica Celestis follows a simple, spacious melody and
harmonic pattern through a number of variations (like a passacaglia) and
modulations, and is framed by an introduction and coda.
(Notesfrom Aaron Jay Kemis, Composer)
Partita for Violin and Orchestra Witold Lutolawski
I composed Partita for violin and piano in the autumn of 1984 at the request of
the St. Paul Chamber Orchestra for Pinchas Zukerman and Marc Neikrug.
The work consists of five movements. Of these the main movements are the
first (allegro guisto), the third (largo) and the fifth (presto). The second and
fourth are but short interludes to be played ad libitum. A short ad libitum
section also appears before the end of the last movement.
The three major movements follow, rhythmically at least, the tradition of
pre-classical (18th century) keyboard music. This, however, is no more
than an allusion. Harmonically and melodically. Partita clearly belongs to
the same group of recent compositions as Symphony No.3 and Chain 1.
Pinchas Zukerman and Marc Neikrug gave the first performance on 18
January 1985 at the Ordway Music Theatre, Saint Paul, Minnesota.
(NotesfromWitoldLutoslawski, Composer, Novemberl984).
The orchestral version (1988) was written for and dedicated to Anne-
Sophie Mutter. She gave the first performance on January 10, 1990 in
Munich with the Munich Philharmonic Orchestra, conducted by the
composer.
Enigma Variations, Op. 36
Edward Elgar
Elgar's inspiration for "The Enigma Variations " was really a combination of
a spontaneous moment of free composition and a playful excursion through
the game of "what if." Upon returning home from teaching violin, Elgar
sat down at the piano and began improvising as a means of unwinding.
The resulting melody was complimented by his wife Alice, to which Elgar
replied by imagining how several of his friends might compose his melody.
The result of this moment would become "The Enigma Variations" and was
premiered on June 19,1899 at St. James's Hall in London, conducted by Dr.
Hans Richter.
The complete title to what we now refer to as "The Enigma Variations " reads
as follows: Variations on an Original Theme, Op. 36; "Dedicated to My
Friends Pictured Within." There are many stories surrounding the iden¬
tification of those depicted and much speculation about the mysterious
woman of variation 13. Here then are those identities revealed:
I Caroline Alice Elgar, his wife
II Hew David Steuart-Powell, amateur pianist,
m Richard Baxter Twonshend, author.
IV W.M. Baker, "country squire, gentleman and scholar."
V Richard P. Arnold, son of Matthew Arnold, amateur pianist.
VI Isabel Fitton, amateur violist.
VII Toyte Griffith, architect, piano student of Elgar.
Vm Winifred Norbury, amateur musician.
IX A.J. Jaeger, office manager at Novello.
X Dora Penny.
XI George Robertson Sinclair, organist of Hereford Cathedral
XII Basil G. Nevinson, amateur cellist.
XEH Lady Mary Lygon
XIV Elgar himself (the initials are "a paraphrase of a fond name").
Variation IX or "Nimrod" is probably the most well known. Variation XI
is said to actually depict George Robertson Sinclair's bulldog, Dan, after he
had fallen into the River Wye. Variation Xffl, because it is titled "Romanza"
with no initials, but simply three asterix in parenthesis, invites the most
speculation. Adding to that speculation is Elgar's use of the melodic theme
of Mendelssohn's Calm Sea and Prosperous Voyage, heard in the clarinet. Most
probably Elgar is portraying Lady Mary Lygon, who sailed to Australia
around the time that he was composing the work. However, there is some
question as to whether it is actually Elgar's first fiancee, Helen Weaver.
They were only engaged for eighteen months. The engagement did not
result in a wedding as Ms. Weaver immigrated to New Zealand - hence
the use of the melody from Calm Sea and Prosperous Voyage.
BIOGRAPHIES
Kimcherie Lloyd, conductor
Kimcherie Lloyd is currently the Director of Orchestral Studies and Opera
Theatre in the School of Music. In addition to orchestra and opera theatre.
Me. Lloyd teaches a graduate seminar in conducting and individual conduct¬
ing lessons. Ms. Lloyd holds a Bachelor and Master's degree in piano
performance from Eastern Michigan University, a Master's degree in
orchestral/opera conducting from Louisiana State University and is cur¬
rently completing a DMA in conducting from the University of Minnesota. In
addition to her studies in the U.S., Ms. Lloyd studied conducting with Julius
Kalmar at the Conservatorium in Vienna Austria.
Ms. Lloyd continues to work professionally and currently serves as Director
of Music with Kentucky Opera where she is the Music Director for the Young
Artist Program and Assistant Conductor/Chorusmaster for the mainstage
productions. Past affiliations include The Minnesota Orchestra, Minnesota
Opera, St. Paul Chamber Orchestra, Baton Rouge Opera, and Ann Arbor
Chamber Orchestra. In addition Ms. Lloyd has served as guest conductor
with the Louisville Orchestra and Louisville Youth Orchestra, Music Director
of Music Theatre Louisville and Artistic Director of Voices of Kentuckiana.
J. Patrick Rafferty, violin
Violinist J. Patrick Rafferty has been hailed for his "exciting performances," his
"subtle and imaginative ideas about the music," and "a velvety, sweetly
sonorous tone [that] captured the intellect and calmed the soul" (Milwaukee
Sentinel). Rafferty's solo credits include concerto performances with the
symphony orchestras of Milwaukee, Dallas, Cincinnati, and St. Louis. In
addition, he has appeared as soloist with the Dallas Bach Orchestra, the Dallas
Chamber Orchestra, the Dallas Fine Arts Orchestra, the Brevard Music Center
Orchestra, the Cincinnati Symphony Chamber Orchestra, and many others,
with over 40 works performed.
J. Patrick Rafferty served as Concertmaster of the Milwaukee Symphony
Orchestra from 1986 to 1991. He previously served as Associate Concertmaster
of the Dallas Symphony for eight years, and as Concertmaster for the Dallas
Bach and Fine Arts Orchestras. As recitalist, Rafferty has performed in New
York, Chicago, Boston, Washington, D.C., Cincinnati, Atlanta, Miami, Nashville,
Orlando, and many other cities.
An accomplished chamber music performer as well as an acclaimed solo and
orchestral artist, violinist J. Patrick Rafferty joined the internationally- acclaimed
Louisville String Quartet in 2005 as first violinist. He also maintains commitments
with the Cadek Trio, whom he joined in 1991. His national reputation as an
outstanding chamber musician has been built on his association with such
ensembles as the New Marlboro Chamber Players, the American Chamber
Trio, the Fine Arts Chamber Players, the Dallas Chamber Orchestra, and the
Walden Chamber Players.
While maintaining his active performance schedule, Rafferty has successfully
built a respected teaching career. He has taught at the Wisconsin Conservatory,
the University of Wisconsin-Milwaukee, the University of Alabama, and is now
Associate Professor of Violin at the University of Louisville. He is also on the
summer artist faculty of the Brevard Music Center in North Carolina, where he
is concertmaster of the Brevard Music Center Orchestra.
Naomi Oliphant, piano
Pianist Naomi Oliphant has earned an international reputation as a soloist and
chamber musician in the U.S.A., Canada, and Europe. Her solo appearances
include engagements with the Toronto Symphony Orchestra under Seiji Ozawa,
the Louisville Orchestra, the Louisville Ballet, the Hamilton Philharmonic, and
the Niagara Symphony. Aired on radio and television in North America and
Europe, she accepted an invitation to perform and lecture in 1998 at the 9th
Suzuki Method International Conference in Japan. In 1995, she premiered
Fantasia, a solo piano work by Frederick Speck, and later performed the piece
as the winning work for the MTNA Distinguished Composer of the Year Award
at the 1995 MTNA National Convention. Since 1983, she has been pianist of The
McHugh-Oliphant Duo, Duo-in-Residence at the University of Louisville. In
addition to three European tours, they have played on such illustrious series as
The Phillips Collection in Washington and the Dame Myra Hess Memorial
Concert Series in Chicago.
Dr. Oliphant was appointed Associate Dean of the University of Louisville
School of Music in 1998 after serving thirteen years as Chair of the Keyboard/
Vocal Performance Department. She was honored as the recipient of the
university's Distinguished Teaching Award in 1994. Most recently, she has been
responsible for coordinating an exchange program between the University of
Louisville and the Karol Szymanowski Academy of Music in Katowice, Poland.
She holds Bachelor and Master of Music degrees from the University of Toronto,
a D.M.A. from the University of Michigan, and the Master Teacher Certificate
from MTNA.
She received the 2003 Distinguished Service Award from the Kentucky Music
Teachers Association and the 1998 Woman of Achievement Award from the
University of Louisville Business and Professional Women. A past President of
the Greater Louisville Music Teachers Association, she has served as Second
Vice-President and Workshop Chair of the Kentucky Music Teachers Associa¬
tion, and since 2000 as Senior Editor of the Kentucky Music Teacher. From 1988 to
1995, she was a committee member of the National Conference on Piano
Pedagogy.
She is also active as an adjudicator and consultant to area music teachers. In
addition to a number of research grants. Dr. Oliphant has received support from
the Social Sciences and Humanities Research Council, the Canada Council, the
Southern Regional Educational Board, the Canadian Federation of University
Women, the Arts Councils of Ontario and Kentucky, and the Kentucky Business
and Professional Women's Foundation.
University Symphony Orchestra
Kimcherie Lloyd, director
Joe Ortiguera, graduate assistant
Alexandra Ostroff, graduate assistant
Charlie Blanton & Mihai Spin, managers
First Violin
G erome Stewart t
Juan Carlos Ortega
Scott Moore
Alexandra Ostroff
Mihai Spin
Leslie Heinzen
Gabrielle Boguslaw
Anna Dolan
Jordan Lynern
Alex Peterson
Jedediah Cowart
Second Violin
J oe Ortiguera %
Cordia Thompkins
Arezou Etemad
Franzeli Sharp
Nathan Chapman
Elizabeth Wooldridge
Ashley Wolf
Lia Ramirez
Emily Caudill
Heather Norwood
Viola
James Dersch J:
Monica Clarke
Scott Farley
Felida Hogan
Alisson Reber
Sarah Speck
Abby Laswell
Hannah Turi
Alison Simpson
Britney Whelan
Whitney Grubb
Dominic Young
Daniel Crawley
Cello
Marlene Ballena J
Molly Goforth
Kimberly Burger
Clayton Vaughn
Erin Cassel
Charlie Patton
Nicole Boguslaw
Katie Schladand
Audrey Bowlds
Fred Speck
Bass
Nick Wooldridge
Elizabeth Adams
Chris Korenkiewicz
Lauren Taylor
Charlie Blanton
Felice Howard
Grant Jacobs
Alice Markiewicz
Piccolo
Jessica Prus
Beth Alexander
Flute
Katie Fondrisi
Demilou DeGuzman
Beth Alexander
Oboe
Gretchen Reiter
Mary Beth Mann
Josianne Parent
Clarinet
Chris Phillips
Sharon Edmunds
Carolyn Frazio
Adam Thomas
Bassoon
Christopher Sales*
Nan Tate*
Horn
Karla Neal
Dominic Rotella
Kate Reyman
Lindsay Pummell
Nikki Smith
Miranda Polzer
Trumpet
R yan Nottingham
Michael Swope
Don Johnson
Charles Calloway
Trombone
Sarah Finger
"Rusty" Crimm
Bass Trombone
D aniel Stuhl
Tuba
Aaron Gaither
Alex Dansby
Timpani
Matt Greenwood
Percussion
Matt Greenwood
Regan Heckscher
Rodney Younger
Harp
Amy Isbell *
t concertmaster
% principal
* guest
**faculty
j Y *fsm usic
INIVERSHY of I QUISVILLE
dare to be great
presents
F acuity J a
Concert
Tuesday Evening
September 26, 2006
8:00 P.M.
Margaret Comstock Concert Hall
Welcome to the University of Louisville
School ofMuisc.
We hope you enjoy the concert.
Smoking is not ipermitted in the School of Music
building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The us e
of recording devices and flash photography is strictty
prohibited.
Please silence cell phones, electronic watches anP
pagers.
Thank you.
Faculty Jazz Ensemble
Ansyn Banks, trumpet
Mike Tracy, tenor saxophone
Craig Wagner, guitar
Chris Fitzgerald, bass
Jason Tiemann, drums
PROGRAM
To Be Selected from the Following:
Autumn Leaves
Joseph Kosma (1905 -1969)
and
Johnny Mercer (1909-1976)
Exit Music
Radiohead
(Thom Yorke)
I Thought About You
Jimmy VanHeusen (1913-1990)
and
Johnny Mercer
I'll Remember April
Gene DePaul (1919-88)
and
Don Raye (1909-85)
Recorda Me
Joe Henderson (1937-2001)
Soul Eyes
Tadd Dameron (1917-65)
There Is No Greater Love
Isham Jones (1894-1956)
Marty Symes (1904-53)
What Is This Thing Called Love Cole Porter (1891-1964)
School of •
music
iMVERsriYqf l omsvum
dare lo be great
Thursday, September 28, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Convocation
Concerto for Clarinet, Op. 1, No. 1
Allegro
Bernard H. Crusell
(1775-1838)
Michelle Linder, clarinet
MUS 311/Zavadil
David George, piano
Anakreons Grab
Chris Shortt, baritone
MUS 411/Weeks
Mary Ann Mattingly, piano
Hugo Wolf
(1860-1903)
Spiritual Waltz
Enrique Crespo
(b. 1941)
Rusty Brass
Ryan Nottingham, trumpet
Melissa McDaniel, trumpet
Dominic Rotella, horn
Rusty Crimm, trombone
Aaron Gaither, tuba
% music
INIVERSITy of 1DUISVILLE
■
dare to be great
presents
WORLD MUSIC
SERIES
Hussam
Al-Aydi
with
BALADNA
Friday Evening
September 29, 2006
8:00 P.M.
Margaret Comstock Concert Hall
Welcome to the University of Louisville
School of Mwsc.
We hope you enjoy the concert.
Smoking is not permitted in the School of Music building. In the unlikely
event of fire or other emergency, please walk to the nearest exit. The use
of recording devices and flash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
BALADNA
Hussam Al-Aydi, aoud and keyboards
Mark Hamilton, electric guitar
Josh Jacobs, electric bass
Yafiya, congas and bongos
Sean Mulhall, drum set
Megan Mahaffey, dancer
Arezu Elias, dancer
Program selections will be announced
from the stage.
About this evening's music:
The Arabic world is a multi-ethnic region consisting of twenty-one countries and
over 130 million people linked together by the Islamic religion and classical
Arabic language and culture. Arabic classical music initially developed in the
Islamic Empire during Umayyad dynasty (650-750) and Abbasid dynasty (750-
1100), the so-called "golden age" of the Islamic culture. The Arabic classical
music system is based on melodic and rhythmic modes, as well as classical
music and poetic forms. The Arabic melodic mode, or maqam, is a seven-note
scale that contains melodic information—i.e., pitch set, principal notes and
melodic phrases—used to compose pieces or improvise during performance.
These modes are constructed using both half- and whole-steps, along with
quartertones, and each has extra-musical associations, evoking various emo¬
tions, colors, times of day and seasons of the year. The Arabic rhythmic mode,
or i-qa, is an underlying cyclic pattern that serves as a rhythmic framework for
composition and improvisation. These modes are of various lengths (2 to 88
beats long), and are organized around a low sound (dutn) and a high one {tck).
Instrumentalists and vocalists frequently perform improvised solos, or taqasim,
that explore a maqam and other related melodic modes. Taqasim are performed
unaccompanied or accompanied by a harmonic drone on the root note of the
scale, and are either played in free rhythm or with rhythmic drone (taqasim-al-
wadah) based on an i'qa. When performing taqasim, performers must display
their knowledge of the classical music system, showing their musical crafts¬
manship while also adding their own distinctive playing style to the musical
tradition. More importantly, they must also achieve an emotional state of
enchantment, called "tarab" in Arabic, through their performance, and inspire
a deep emotional involvement, called "saltanah," in their audience.
Born and raised in Qatar, a small country in the Persian Gulf, Hussam Al-Aydi
began playing Arabic music at the age of seven, and performed professionally
throughout the Middle East for over fifteen years before moving to Kentucky.
He studied Arabic classical and popular music at the College of Music in Cairo,
Egypt, and his music talents include playing aoud, piano, electric keyboard,
tabla and riqq, as well as singing. After leaving music school, Hussam
accompanied many famous Arabic singers and dancers in countries across the
Arabic world, and composed and arranged his own original pieces. Having
listened extensively to Spanish music and American blues and jazz, Hussam
incorporated elements of these musical styles into his own music to create
Arabic-Jazz/Blues and Arabic-Spanish fusion arrangements. At present, Hussam
is the president of Golden Promise Entertainment, a company he created to
bring quality Middle Eastern music and entertainment to Louisville and the
surrounding region. He is also the leader of an Arabic music and dance
ensemble called BALADNA (which means "our Country" in Arabic). Comprised
of a diverse group of talented musicians and dancers from different Arabic
regions as well as from America, BALADNA performs Arabic classical and
popular music, and modern and folkloric Arabic dance pieces, at festivals,
concerts, private parties, restaurants and nightclubs. Hussam is also an
instructor offering private, semi-private, and group lessons on Arabic music for
dancers and/or musicians, and is involved in organizing festivals in Arab
countries, working to bring entertainers from the United States to perform at
special events in the Middle East.
- Notes by Sean Mulhall, Instructor of Music History
Daniel Weeks, tenor
Naomi Oliphant, piano
Comstock Hall
October 1, 2006
(no program)
University Wind Ensemble
Comstock Hall
October 1, 2006
(no program)
School of •
music
IMVERSITYof IOUISVILLE.
" 1 —---
dare to be great
presents
Nancy and
Vernon Cherrix,
piano
Monday Evening
October 2, 2006
8:00 P.M.
Margaret Comstock Concert Hall
PROGRAM
Sheep May Safely Graze J.S. Bach
(1685-1750)
arranged by Mary Howe
Sonata in C Major, K. 521 W.A. Mozart
Allegro (1756-1791)
Andante
Allegretto
A Suite from the Cloud Forest
The Resplendent Quetzal
Eric Ewazen
(b. 1954)
Variations on a Theme by Schumann,
Op. 23
Johannes Brahms
(1833-1897)
Sechs Stiicke fur Klavier A. Schoenberg
Andante grazioso (1874-1951)
Allegro molto
Poco allegro
Lebhaft, rasch
Andante
Rasch
PROGRAM
Sheep May Safely Graze J.S. Bach
(1685-1750)
arranged by Mary Howe
Sonata in C Major, K. 521 W.A. Mozart
Allegro (1756-1791)
Andante
Allegretto
A Suite from the Cloud Forest
The Resplendent Quetzal
Eric Ewazen
(b. 1954)
Variations on a Theme by Schumann, Johannes Brahms
Op. 23 (1833-1897)
Sechs Stiicke fur Klavier A. Schoenberg
Andante grazioso (1874-1951)
Allegro molto
Poco allegro
Lebhaft, rasch
Andante
Rasch
School of •
music
INIVERSnYof I OJISVIUE.
dare to be great
Thursday, October 5, 2006
3:00 p.m.
Margaret Comstock Concert Hall
I
Dido's Lament from Dido and Aeneas
Recitative: Thy hand, Belinda
Aria: When I am laid in earth
Rianne Marcum, mezzo-soprano
MUS 303/Weeks
Mary Anne Mattingly, piano
7
If Music Be the Food of Love
Amanda Bryant, soprano
MUS 204/Graham
Mary Anne Mattingly, piano
3
Esurientes
from Magnificat
Megan Johnson, mezzo-soprano
MUS 112/Weeks
Mary Anne Mattingly, piano
Moto Perpetuo (1968)
Kevin Arbogast, soprano saxophone
Jon Rohner, alto saxophone
Matt Reidinger, tenor saxophone
Daniel Reams, baritone saxophone
MUS 119/Moore
Convocation
Henry Purcell
(1659-1695)
Henry Purcell
(1659-1695)
J.S. Bach
(1685-1750)
Jaap Geraedts
(b. 1924)
Two Pieces
Honie-Suckle
Night Watch
Canzona per sonare No. 2
Scarlet Brass
Joel Watson, trumpet
Gabrielle Brown, trumpet
Stephanie Radcliffe, horn
Krista Eifler, trombone
Stephanie Bragg, tuba
MUS 119/Heim
b
Variations on America
Audrey Davis, trombone
MUS 403/Shuster
Tim Baker, organ
Anthony Holborne
(1545-1602)
Giovanni Gabrieli
(1558-1613)
Charles Ives
(1874-1954)
arr. Brett Shuster
music
LNMiRSl'lYqf I DUISVIUE ,
dare to be great
Thursday, October 5, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Pollywog's Lake Talk
Amy Knight, alto saxophone
Alex Verdoorn, alto saxophone
George Flores, tenor saxophone
Trent Barrick, baritone saxophone
Old American Songs
I. The Little Horses (Lullaby)
Contrapunctus IX
from The Art of the Fugue
Cardinal Brass
Michael Swope, trumpet
Charles Calloway, trumpet
Kate Reyman, horn
Audrey Davis, trombone
Mat Murphy, tuba
Anakreons Grab
Chris Shortt, baritone
MUS 411/ Weeks
Mary Ann Mattingly, piano
Variations on America
Audrey Davis, trombone
MUS 403/Shuster
Tim Baker, organ
Convocation
Barry Ulman
(b. 1940)
Aaron Copland
(1900-1990)
arr. R. Reyman
(b. 1952)
J.S. Bach
(1685-1750)
arr. John Glasel
Hugo Wolf
(1860-1903)
Charles Ives
(1874-1954)
arr. Brett Shuster
School of
music
IMVERSITYqf IOUISVILLK
dare to be great
presents
University
Symphonic Band
Frederick Speck, director
with guest conductors
Sarah Danyi and Aaron Bell
Thursday Evening
October 5 , 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Saint-Germain-des-Pres and Pigalle
from Paris Sketches (1994)
Martin Ellerby
(b. 1957)
Mo Nighean Dubh trans. Chalon Ragsdale
(My Dark-haired Maid) and Irish Tune and
Ryan Fraley
Sarah Danyi, conductor
In partial fulfillment of the requirements of the Master of Music degree
Prelude and Fugue for Trumpet Choir (2000) Eric Ewazen
(b. 1954)
Aaron Bell, conductor
In pat tial fulfillment of the requirements of the Master of Music degree
Kaddish (1976)
W. Francis McBeth
(b. 1933)
Psalm, Op. 53 (1952)
Vincent Persichetti
(1915-1987)
University Symphonic Band
Frederick Speck, director
Piccolo
John Aurelius t
Flutes
Ty-juana Taylorf
Jen Adams
Lara Wolff
Alexandria Bryant
Megan Johnson
Jen Summers
Oboes/English Horn
Josiane Parent f
Wendy Frazee *
Robert Howell
Clarinets
Jennifer Spainhour t
Katie Turner
Michael Burkhead
Katie Duvall
Heather Rountree
Laura Nation
LaShanda Walker
Heather Pigram
Bass Clarinet
Kelsey Brawner
Alto Saxophones
Amy Knight t
Alex Verdoorn
Tenor Saxophone
George Flores
Baritone Saxophone
Trent Barrick
Tim Miller*
Georgetown
Smiths Grove
Fort Thomas
West Chester, OH
Beaver Dam
Pekin, IN
New Albany, IN
Corbin
Franklin, OH
Goshen
Floyds Knobs, IN
Murfreesboro, TN
Louisville
Jeffersonville, IN
Georgetown, IN
Goshen
Shelbyville
New Castle
Louisville
Newport, TN
Orange City, IA
Winchester
Glasgow
Corning, AR
Horns
Sara Poe t
Matt Peyton
Stephanie Radcliffe
Laura Campbell
Jessica Neidwick
Trumpets
John Bryant t*
Daniel Whaley*
Reid Tanouye*
Austin Coldiron
Melissa McDaniel*
Aaron Bell*
Gabe Wartman
Trombones
Aaron Stepp t
Allison Cross
Euphoniums
Sarah Danyi t*
Kim Texter
Brendan Vincent
Jamie Hafley
Tubas
Mat Murphyt
Stephanie Bragg
Tyler Polston
Percussion
Tim Burmmeier t
David Learned
Zack Hubbard
Nicholas Layman
Kelly Gibson
* graduate student
t principal
Huntingburg, IN
Marysville, IN
Lexington
Florence
Georgetown
Fairview, NC
Knoxville, TN
Maui, HI
Richmond, VA
Collierville, TN
Louisville
Fort Mitchell
Glasgow
Murray
Oregon, OH
Louisville
Winchester
Lebanon
Columbus, OH
Elizabethtown
Elizabethtown
Floyds Knobs, IN
Evansville, IN
Frankfort
Louisville
Louisville
World Music Series
Santanu Banerjee
October 7, 2006
Bird Hall
(no program)
Kentucky
University of Louisville
Center
School of Music
Chamber
Comstock Recital Hall
Plavers
8 October 2006 3:00PM
PROGRAM
Rain Waves (1997)
Joan Tower
(b. 1938)
Dallas Tidwell, clarinet Peter McHugh, violin
Joanna Goldstein, piano
Quintet in Eb, Op. 16 Ludwig van Beethoven
Grave, Allegro ma non troppo (1770-1827)
Andante cantabile
Rondo (Allegro ma non troppo)
Marion Gibson, oboe Dallas Tidwell, clarinet
Matthew Karr, bassoon Bruce Heim, horn
Joanna Goldstein, piano
INTERMISSION
Violin Sonata (1917) Claude Debussy
Allegro vivo (1862-1918)
Intermede- Fantasque el legur
Finale- Tres anime
Peter McHugh, violin Joanna Goldstein, piano
Till Eulcnspiegels lustige Streiche, Op.28
arr.
Richard Strauss
(1864-1949)
Franz Hasenohrl
Peter McHugh, violin Dallas Tidwell, clarinet Matthew Karr, bassoon
Bruce Heim, horn Bert Witzel, bass
Please join us in the green
room for a reception following the concert.
Program Notes
Rain Waves (1997)
by Joan Tower (b. New Rochelle, NY, 6 September, 1938)
Joan Tower is a familiar composer to Louisville audiences. Several of her works, including Silver
Ladders (winner of the 1990 Grawemeyer Award for Music Composition) have been performed
and recorded by the Louisville Orchestra. Her other honors include three fellowships from the
National Endowment for the Arts, a Guggenheim fellowship, and many commissions from major
orchestras, including the St. Louis Symphony, for which Silver Ladders was written.
In much of her work, she uses forms and harmonies inspired by Beethoven, Stravinsky and
Debussy. But many of her most recent compositions reflect a particular attention to rhythm - not
surprisingly, since she spent most of her childhood in South America before returning to the
United States in 1955. She earned music degrees from Bennington College (Vermont) and
Columbia University (New York).
Rain Waves is a trio for violin, clarinet and piano. Critic Diane Windeler of the San Antonio
Express-News writes that the work "... explores and depicts a waveform, from the staccato
pinging of raindrops to whirling, wind-driven sheets. Many of her [Tower's] pieces involve
musical imagery, and this is one of the most evocative. In between the tremolo sprinkles and
brash torrents are devices such as delicate phrases played on the violin's bridge, echo passages
between instruments or long-held suspensions overlaid with a variety of eloquent patterns or
phrases." 0
Rain Waves was written as a commission by Michigan State University for the Verdehr Trio. A
recording is available on compact disc: Verdehr Trio, The Making of a Medium, Vol. 13 Crystal
Records CD 943.
Quintet for Piano, Oboe, Clarinet, Bassoon, and Horn, Op.16
by Ludwig van Beethoven (b. Bonn, Germany, 16 December, 1770; d. Vienna,
26 March, 1827)
I. Grave, Allegro ma non troppo
II. Andante cantabile
III. Rondo (Allegro ma non troppo)
Beethoven's Opus 16 pays homage to Mozart's classicism in its fast portions. But the
darker, romantic-foreshadowing, slower passages provide previews of the Beethoven-to-come.
The first movement opens with a unison fanfare. It's answered by the piano alone and
then lepeated by the winds. Beethoven then assigns the music to each instrument in turn and the
winds toss their figures from one player to the next, accompanied by the piano, until the
introduction comes to a pause and everyone launches into the Allegro. The movement ends with
another flourish that would become a hallmark of Beethoven's music, a coda based on the
opening theme of the Allegro.
The opening theme of the second movement is announced by the piano. Again, the winds
answer, this time lead by the clarinet, which states the tune. The music builds as the oboe, then
the bassoon, and finally the horn, are added. Eventually, the piano emerges to restate the theme,
before the music goes to a second, minor theme, introduced with a horn solo. The third section
provides a virtuosic turn for the piano. (Of course, this was the instrument that Beethoven himself
was playing at the premier of the work.)
The last movement gallops along at a hunting tempo, evoking similar music by Mozart
and even Haydn. As happened in the first two movements, the piano leads the charge and is
answered by the winds.
Violin Sonata (1917)
by Claude Debussy (b. St. Germaine-en-Laye, 22 August, 1862; d. Paris 25
March, 1918)
I. Allegro vivo
II. Intermede- Fantasque et legur
III. Finale- Tres anime
Debussy's last chamber works were three sonatas (of six planned). And the Violin
Sonata was the last composition the composer completed. Though marking "the end" for
Debussy, the sonata itself is one of the pieces that began the 20th century compositional
movement towards neoclassicism. The form is loosely based on the 18th century sonata-
allegro model, but there is much more freedom in the harmony and uses of motives in the
development section than Mozart, or even Beethoven, would ever tried. Indeed, much of
the musical texture of the Violin Sonata is virtually subliminal, which is exactly why
Debussy's music is referred to as "impressionistic."
Even though the first movement is marked "Allegro vivo" ("fast, lively") the
tempos vary considerably. It's not until well after the introduction of the first theme that
the music settles into the stated pace.
The middle movement contains several melodies, all with elements of the fantastic in
mind, not least of which is the gypsy-like character of the violin playing.
And just when the listener thinks that he or she has perceived the structure of the final
movement, Debussy surprises the ear with a return to a theme that was introduced in the
opening movement.
Till Eulenspiegeis lustige Streiche (nach alter Schelmenweise - an Roundeauform)
("Till Eulenspiegel's Merry Pranks, after an Old Rogue's Tune - in Rondo Form”)
Op. 28 (1894-95J.
by Richard Strauss (b. Munich, 11 June, 1864; d. Garmisch-Partenkirchen,
Bavaria, 8 September, 1949)
The tale of medieval peasant prankster, Till Eulenspiegel, first appeared in print in
Germany in 1519. Eulenspiegel is literally an upsetter of the applecart. He tears through
a little market town, causing the women tending their produce wagons to scatter. He
escapes the townspeople's wrath by striding away in seven-league boots and hiding
himself down a mouse hole. (It must have been made by an Ubermausl) Determined to
thumb Ills nose at authority, he returns disguised as a priest and compounds this outrage
by flirting with one of the town's comely maidens. And in yet another episode of
defiance, he poses impossible philosophical questions to a panel of self-important
burgers. Eventually, Till is captured and hanged. But life in the town is now rather dull.
The townspeople recall his wicked charm and Richard Strauss's tone poem, which had
musically recounted these various chapters of Eulenspiegel's career, ends with the brief,
mischievous motive with which it began.
This cautionary tale appealed to other composers besides Strauss, including Flor
Alpaerts, Jan Blockx and Maximilan Steinberg. Ballets by Nijinsky (1916) and
Balanchine (1951) have been staged. And Karetnikov wrote an opera (1993) base on
story. Unlike Strauss's version, these haven't managed quite the same place in the
standard concert hall or stage repertoire.
Strauss's orchestral work lasts a bit over 16 minutes, depending upon the
conductor's tempos. This arrangement, made in 1954 by Austrian composer Franz
Hasenohrl, is half that length. But it retains both the form and the character of the
original. It is scored for the chamber ensemble of violin, clarinet, bassoon, horn and
double bass.
By Ursula Winston
The Kentucky Center Chamber Players
gratefully acknowledge the assistance of:
University of Louisville and Indiana University Southeast
Angel
Mr. Frank Abell
Dr. David Bybee and Dr. Polly Coombs
Mr. and Mrs. Robert Kulp
Mr. Peter Pecere
Mrs. Jane T, Woolsey
Benefactor
Mr. and Mrs. Ben Franklin
Ms. Jodie Goldberg
Mr. Karl Gruen
Mrs. James Merritt
Susan Reigler
Mary Sachs
Drs. Edwin and Marcia Segal
Mr. and Mrs. James R. Voyles
Dr. and Mrs. Robert Weaver
Patron
Dr. A. Thomas Blanford
Mr. John Carroll
Mr. and Mrs. David Cohn
Ms. Mary Henry
Mr. and Mrs. Frederick Hilton
Dr. and Mrs. Jeffrey Jamner
Mrs. Phillip Lanier
Dr. Marc Satterwhite
Mrs. Louise Schulman
Mr. and Mrs. Norman UpdegrafF
School of
music
IMVERSITY of I0UISVILLE.
dare to be great
presents
University
Student
Composers
Wednesday Evening
October 11, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
...an elegy in air Nick Drake
(b. 1978)
Shaun David Crowdus, trumpet
Miranda Polzer, horn
Aaron Stepp, trombone
Earth, Wind, and Fire Jason Richmond
Earth (b. 1981)
Wind
Fire
Penelope Quesada, flute
Rondo
Michelle Linder, clarinet
Aaron Stepp
(b. 1985)
The Uninhibited Flows of Tubular Waters Christian Gentry
(b. 1978)
Kate Fondrisi, flute/piccolo
Beth Alexander, flute
Mary Beth Mann, oboe
Chris Phillips, clarinet
Ashley Henderson, bassoon
Joy Coughlon, bassoon
Audrey Davis, trombone
Christian Gentry, amplified piano
Sarah Danyi, conductor
PROGRAM NOTES
(written by the composers )
... AN ELEGY IN AIR NlCKDRAKE
... on elegy in air was inspired while I was reading a collection of
Japanese poetry during the summer of 2005 titled Zen Poetry: Let the Spring
Breeze Enter, translated and edited by Lucien Stryk and Takashi Ikemoto.
The title of this piece comes from the last line of that book from a poem by
Lucien Stryk on the death of the Zen poet Shinkichi Takahashi. There was
a haunting quality in this last line that made my mind wander in the
remaining white space on the page. That silence and reflection is the
impetus for this piece. The way in which the three instruments move
together reminds me of reading the Haiku; three intricately connected lines
that derive much of their structure from the white space that surrounds
them as well as their intrinsic poetic depth. This reflective quality is
balanced with cathartic elements that typify the elegiac form.
Earth, Wind, and Fire Jason Richmond
Earth, Wind, And Fire is three short movements or "episodes" for solo
flute. The episodes are cyclical, in that rhythmic motives are repeated in
each. The episodes appear in a fast-slow-fast order.
Rondo Aaron Stepp
Rondo is a work from a never-ending collection of solo clarinet works,
and can stand alone or be played in combination with any works of the
players choice. Since new clarinet pieces spontaneously appear in my
head, the collection is not finished. This specific selection is a rondo as the
title suggests, however it is not an exact seven-part rondo, but sticks close
to the idea.
The Uninhibited Flows of Tubular Waters Christian Gentry
While passing through Detroit Airport terminal, I noticed an incred¬
ible water fountain that would shoot compacted tubules of water that
form designs so intricate as to distort one's perception of the physical
properties of water. At times the tubules of water looked like solid pipe-like
objects bent in many directions. I was fascinated by this incredible
manipulation of water. On the plane ride home I drew a conceptual design
that would become The Uninhibited Flows of Tubular Waters. Each instrument,
or grouping of the instruments, represents a tubule of water as it is
projected through various states of physical matter, such as liquid, gas and
solid. Although certain pitches, gestures and rhythms uniquely design
each musical tube, the durational values of such are in constant flux. This
durational flux represents the unpredictable nature of the movement of
water. Nevertheless the music is held together through a unifying, albeit
subtle, harmonic progression. Metaphorically, this unity of harmony is
best compared to the molecular sameness of all the water tubes.
Convocation
Alumni Fellows
Comstock Hall
(no program)
10/12/06
School of
music
IMVERSIIYqf IOUISVILLE.
dare to be great
presents
Louisville Brass
and Friends
Michael Tunnell, trumpet
Herbert Koerselman, trumpet
Bruce Heim, horn
Brett Shuster, trombone
John Jones, tuba
with
Krista Wallace-Boaz, piano
Brian Kushmaul, percussion
Sunday Evening
October 15, 2006
7:30 P.M.
Margaret Comstock Concert Hall
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this evening.
Smoking is not permitted in the School of Music building.
In the unlikely event of fire or other emergency, please walk to the nearest exit.
The use of recording devices and flash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
PROGRAM
Canzona Bergamasque
Samuel Scheldt
(1587-1654)
16th-Century Carmina
Ich sag ade
Als ich anschau das frolich Gsicht
Carmen in la
Greiner zanner
ed. John Glasel
Anonymous
Anonymous
Ludwig Senfl (c. 1490-c. 1550)
Heinrich Finck (1445-1527)
Sicut Cervus Giovanni Perluigi Palestrina
(c. 1524-1594)
ed. Bruce Heim
Des Tableaux Forains (The Traveling Circus) (1958) Jose Berghmans
Les lutteurs (Wrestlers) for hom (b. 1921)
La femme a barbe (The Bearded Lady) for trombone
La Chenille (The Caterpillar) for trumpet
INTERMISSION
Quintet No. 1
Moderato
Adagio non troppo lento
Allegro moderato
Victor Ewald
(1860-1935)
Variations on the Rag (1983)
Stanley Friedman
(b. 1951)
Tiger of San Pedro
John La Barbera
(b. 1945)
1
l
CHAMBER
MUSIC
SOCIETY
of Louisville
School of
music
UNIVERSITY of I OU1SV1LLE
dare to be great
69th Season
Three Hundred Twenty-Third Concert
of the Society
The Czech Nonet
Jan Fiser, violin
Jan Nykryn, viola
Simona Heyova, violoncello
Radovan Hey, contrabass
Jiyi Skuhra, flute
Ales Hustoles, clarinet
Vladislav Borovka, oboe
Pavel Langpaul, bassoon
Vladimira Klanska, horn
Margaret Comstock Concert Hall
University of Louisville School of Music
Sunday, October 15, 2006
3:00 P.M.
WIL
90.5FM
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this afternoon.
Smoking is not permitted in the School of Music building.
In the unlikely event of fire or other emergency, please walk to the nearest exit.
The use of recording devices and flash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
The Chamber Music Society was founded in 1938 by the University of Louisville and
operates in affiliation with the University of Louisville School of Music.
The Chamber Music Series is dedicated to the memory of
Miriam Weis
(1921-1976)
These concerts are a tribute both to the music community...young and old, profes¬
sional and amateur...which received her loving attention, and to this special music
which she treasured.
Acknowledgments
The Chamber Music Society of Louisville is supported by the generosity of numerous
individuals and organizations who join in its purpose of presenting performances of the
world's best chamber music by its most renowned artists. The Board ofTrustees thanks
all who contribute to this effort and who help bring meaningful music to us all:
Gerhard HerzSustainers, Society Sustainers, Benefactors, and Patrons
The Miriam Weis Endowment
The Gerhard Herz Estate
University of Louisville School of Music
Dr. Jean Christensen
WUOL90.5FM
Gerhard Herz was a long-time beloved faculty member of the University of Louisville
School of Music and an invaluable supporter of the Chamber Music Society. Before his
death in 2000, Gerhard made a gift to the Society that was designed to insure that the
number of concerts as well as the quality of the conceits be maintained for five years. That
period is now ending. In order to continue this legacy, a new donor category has been
established and named the Gerhard Herz Fund Sustainers. For more information on
ecoming a Gerhard Herz Fund Sustainer, please contact Ms. Shaunitra Wisdom at
(502) 852-6907.
Media support provided by WUOL 90.5 FM.
Program
Children's Suite (1952) *
Little Dance
Lullaby
Game of Tag
Nonet No. 2, H374 *
Poco Allegro
Andante
Allegretto
Jifi Jaroch
(1920-1986)
Bohuslav Martinu
(1890-1959)
Dance Preludes (1954) Witold Lutoslawski
Allegro molto (1913-1994)
Andantino
Allegro giocoso
Andante
Allegro molto
Intermission
Septet, E-flat Major, op. 20 Ludwig van Beethoven
Adagio. Allegro con brio (1770-1827)
Adagio cantab ile
Tempo di menuetto
Andante - Tema con Variazioni
Scherzo - Allegro molto e vivace
Andante con moto alia Marcia
* first performances for the Society
The audience is invited to meet the artists following today's concert in
the Green Room behind the stage area.
The Chamber Music Society of Louisville 2006-2007
MEMBERS OF THE BOARD.
Ms. Robin Hicks, President
Ms. Jacqueline Rosky, Vice-President
Mr. Andrew Fleischman, Secretary
Mrs. Sarah Provancher,
Corresponding Secretary
Mr. Tom Pike, Treasurer
Ms. Barbara B. Brick
Dr. Christopher Doane
Mr. Ben Franklin
Dr. Douglas Haynes
Dr. Bruce Heim
Ms. Jean Kalkhof
Dr. Brenda E. Kee
Mr. Peter McHugh
Dr. Acton Ostling, Jr.
Ms. Anne L. Pope
Ms. Toni Robinson
Mr. Dallas Tidwell
Ms. Kristin DrownWingfeld
Ms. Jane Towery-Woolsey
HONORARY MEMBERS.
Mr. Lee Luvisi
Mrs. Macauley Smith
Mr. Ferd B. Weis
DR. GERHARD HERZ FUND
SUSTAJNERS
($1000 OR MORE)
Mrs. Doris D. Owen Bickel
Mrs. Edith S. Bingham
Ms. Barbara B. Brick
Mr. and Mrs. Carl T. Fischer, Jr.
Mr. and Mrs. Ben Franklin
Ms. Betty Jones
Dr. Chester C. Kratz
Mr. and Mrs. Robert Kulp
Dr. and Mrs. Alton E. Neurath, Jr.
Ms. Anne L. Pope
Theodore and Jacqueline Rosky
Alice and Brooks Senn
Mr. Ferd B. Weis
SUSTAINERS
($500-999)
Dr. and Mrs. Kenton Atwood
Drs. David Bybee and Polly Coombs
Drs. Marie and George Doyle
Dr. and Mrs. Douglas M. Haynes
BENEFACTORS
($225-499)
Mr. and Mrs. Stuart E. Alexander
Mrs. Charles M. Allen
Mrs. Edith S. Bingham
Mr. and Mrs. John T. Bondurant
Ms. Evelyn Cohn
Dr. and Mrs. James M. Doyle
Ms. Alison Ewart and Mr. Paul Vice
Dr. and Mrs. Walter Feibes
Dr. Sue McGehee Gilvin
Mr. Karl C. Grucn
Ms. Ruby E. Hampton
Mr. and Mrs. Jay Harris
Mr. and Mrs. David A. Hoefer
Mr. Wallace R. Horine
Peter and Carole McHugh
Dr. and Mrs. Condict Moore
Mr. and Mrs. Louis J. Moseson
Dr. Acton Osding, Jr.
Mr. and Mrs. Richard D. Rivers
Mrs. Jacqueline Rosky
Mr. and Mrs. Robert H. Schulman
Mr. and Mrs. Yandell R. Smith
Dr. James and Nan Spalding
Mr. Gene P. Stolz
Dr. and Mrs. Grant Taylor
Mr. and Mrs. Dallas Tidwell
Mr. and Mrs. James R. Voylcs
Dr. and Mrs. Richard A. Ward
Dr. and Mrs. Robert L. Weaver
Jonadian and Martha Ziskind
PATRONS
($175-224)
Mr. Frank R. Abell
Carolyn K. Balleisen
Ms. Sara Bein
Ms. Allis Eaton Bennett
Dr. C.W. Blair
Mr. A. David Bos
Mr. William Bronson
Ms. Kathie M. Buchlno
John F. Carroll
Dr. and Mrs. Dario A. Covi
Francis Cummins
Ms. Carol W. Denncs
Mrs. William G. Earley
Mrs. Ewing A. Fahey
Mrs. Sarah McNeal Few
Mrs. M.T. Fliegclman
Mrs. Alan Goldberg
Ms. Mary Louise Gorman
Ms. Kathy Glinderscn
Ms. Marion Harcourt
Ms. Barbara B. Hardy
Mrs. Elizabeth Herz
Ms. Brooke Hicks
Dr. Frederic Hicks
Ms. Robin Hicks
Rose Isetti
The Rev. Helen Jones and
Tom Pike
Ms. Jean Kalkhof
Dr. Brenda Kee
Mr. William P. Kelley, III
Dr. and Mrs. Sandor Klein
Ms. Anne Ogden
Ms. Susannah Onwood
Mrs. Joan C. Rapp
Dr. Marc Satterwhite
Dr. and Mrs. Arthur Slavin
Mrs. Macauley Smith
Elinor and Mary Starr
Frank J. Swartz
Mr. William J. Walsh 111
Mr. Carl Wedekind
Mary Zinniel
School of
music
IMVERSlIYqf I DUISVILIE ,
dare to be great
presents
Indiana University
New Music Ensemble
David Dzubay, Director/Conductor
Thursday Evening
October 19, 2006
8:00 P.M.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building.
In the unlikely event of fire or other emergency, please walk to the nearest exit.
The use of recording devices and fash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
PROGRAM
A Bird Came Down the Walk (1995)
Sheldon Person, viola
Yael Manor, piano
from Seven Times Heard in China (1995) Bright Sheng
I. Seasons (b. 1955)
III. Little Cabbage
VII. Tibetan Dance
Alvin Wong, cello
Tom Takemitsu
(1930-1996)
Partita for Violin and Orchestra Witold Lutoslawski
I. Allegro giusto (1913-1994)
II. Ad Libitum
III. Largo
IV. Ad Libitum
V. Presto
VeroniqueMathieu, violin
Timothy Best, piano
Hommage a R. Seh. (1990) Gyorgy Kurt4g
T , (b. 1926)
I. merkwurdige Pirouetten des Kapellmeisters
Johannes Kreisler (Vivo)
IL E: der begrenzte Kreis (Molto semplice piano e legato)
III. und wieder zuckt es schmerzlich F. urn die Lippen
(Feroce, agitato)
IV. Few vaUk, mar sii a nap (Calmo, scorrevole)
V. In der Nacht (Presto)
VI. Abschied (Adagio, poco andante)
Leigh Lafosse, clarinet
Sheldon Person, viola
Timothy Best, piano
Yul-90 (19)
Jane Yoon, harp
Chung Gil Kim
(b. 1934)
"...in the receding mist..." (1988) Bernard Rands
(b. 1934)
I-Jeng Yeh , flute
Jane Yoon, harp
Veronique Mathieu, violin
Sheldon Person, viola
Alvin Wong, cello
ABOUT THE PERFORMERS
The Indiana University New Music Ensemble is one of the nation’s
top collegiate contemporary music groups. The group has performed in
major venues all over the United States, including Merkin Hall and
Columbia University in New York City, the Library of Congress, and San
Francisco’s Davies Hall, besides their regular appearances on the
Bloomington campus. They have made numerous recordings of music
by IU faculty composers.
They made their first UofL appearance in 2002, performing Pierre
Boulez’ Grawemeyer Award-winning Sur incises, and have returned
every year since. The Division of Composition and Music Theory at the
University of Louisville School of Music is very pleased to be able to
bring this remarkable ensemble to the Louisville community on a regular
basis.
lAh Slewing to ^omombok
Michaud Qfagieit Salutes ^
tk LAmeMcm ^Popu Hati Song
IMVERSITY of IDUKVILLE.
dare to be great
“Qichatid Qfafiieii Qa&utes the cAme/uccm ( -Popu{?a/i Song”
Sunday, October 22, 2006
Margaret Comstock Concert Hall
University of Louisville
Rialto Ripples
Smoke Gets in Your Eyes
Isn't it Romantic
Where or When
Someone To Watch Over Me
Love Walked In
Embraceable You
Body and Soul
Every'time
The Trolley Song
Over the Rainbow
Moon River
Rhapsody in Blue for Piano Solo
George Gershwin/Walter Donaldson
Jerome Kern
Richard Rodgers/Lorenz Hart
Richard Rodgers/Lorenz Hart
George and Ira Gershwin
George and Ira Gershwin
George and Ira Gershwin
lohnny Green
Hugh Martin/Ralph Blane
Hugh Martin/Ralph Blane
Harold Arlen/E.Y. Harburg
Henry Mancini/Johnny Mercer
George Gershwin
< 3Tlim\fc QJou
Your support of the University of Louisville benefits students and enhances
faculty creativity and research, shaping the future of Louisville and our
commonwealth. We thank you for the difference you make today and every
day and for helping us achieve our Challenge for Excellence strategic goals.
cAbouf tlie Cliadfcnge {oft SxeePfonce
In 1998 the University of Louisville launched the Challenge for Excellence—
an I I-point ten-year plan to become a preeminent metropolitan research
university.
This fall U of L is celebrating achieving these goals—more than a year
ahead of schedule. These goals included graduating better students,
creating endowed chairs, fostering business startups and partnering with
the community. For information on the 11 goals and our progress, visit
www.louisville.edu/challenge.
As a U of L supporter, you have been critical to our success moving
forward. We need you more than ever as we continue to advance.
wlbouf Qidiaftd QPngieft
Richard Glazier is one of today's foremost interpreters of the American
Popular Songbook and probably most closely associated with music of
George and Ira Gershwin.
Trained in the classics, Glazier earned bachelor's and master's degrees in
piano performance from Indiana University School of Music and a
Doctorate of Musical Arts from the Cleveland Institute of Music. He made
formal classical debuts in New York, Boston, Los Angeles and Rome, and
won several major international piano competitions including the Pro
Musicis Award and National Federation of Music Clubs Grand Prize.
Glazier has performed in nearly every state of the union, bringing
audiences not only music of the Golden Age of American Popular Song,
but fascinating commentary about the composers of the era. Weaving
stories, film clips and piano performances, Glazier's programs are
entertaining, educational and inspiring. For some of his audience, Glazier
brings back fond memories; for others he gives an exciting glimpse of our
musical heritage.
Richard Glazier is a Steinway Artist.
"Richard Glazier Salutes the American Popular Song" is made possible
by the generosity oj Ron Gist, Gist Piano Center and Steinway & Sons.
We wholeheartedly thank them.
University Brass Ensembles
October 23, 2006
Comstock Hall
(no program)
School of
music
UMIVERSIIYqf 1DUISV1LIE.
dare to be great
presents
University
Jazz Ensemble II
Jerry Tolson, director
Natalie Boeyink and Brent Hall,
graduate assistants
Tuesday Evening
October 24, 2006
8:00 p.m.
Margaret Comstock Concert Hall
§mMng i§ M&i permitted m the SdmM efMmek bmldmg, 3m £fe mdlkelgsmiit $t
ether $mse wA to the mesmesi smt, Ike ms gfmesrdmg ,demcm is strict^
& r f&^mmeEjCBLaum&wiJBem0amwiiBamj&BmiGBBs. ISa&kytm.
On a Clear Day
Alan Jay Lemer (1918-1986)
Button Lane (1912-1977)
arr, David Metzger
Nutvilie
Horace Silver (b. 1928)
arr, Bryan Kidd
In a Mellotone
Duke Ellington (1899-1974)
arr. Mark Taylor
Crazeology
Bennie Harris (1919-1975)
arr. Mike Tomaro
Come Rain or Come Shine
Johnny Mercer (1909-1976)
Harold Arlen (1905-1986)
. arr. George Stone
Afro Blue
Mongo Santamaria (1922-2003)
arr. Mike Sweeney
Lament
J.J. Johnson (1924-2001)
arr. Mike Tomaro
Crescent River Ramble
Erik Morales
Full Count
Mark Taylor (b. 1950)
University Jazz Ensemble II
Jerry Tolson, director
Natalie Boeyink and Brent Hall, graduate assistants
Saxophones
Zach Driscoll
Neel Barua
Nate McCoy
Evan Hudson
Kevin Arbogast
alto
alto
tenor
tenor
baritone
Taylorsville
Newark, DE
Murray
Frankfort
Bowling Green
Trombones
Audrey Davis
Walter Malzahn
Krista Eifler
Louisville
Louisville
Newburgh, IN
Trumpets
Jennifer Grant
Zach Groves
Joel Watson
Shaun Shotwell
Louisville
Calvert City
Henderson
Mount Gilead, OH
Rhythm
Wade Honey
Curtis Kennedy
Jenna Mattingly
John Alvey
Justin Hearvrin
piano
guitar
bass
drums
drums
Rapid City, SD
Toronto, ON
Louisville
Thompson's Station, TN
Louisville
Convocation
Lecturer (not specified)
Bird Hall
(no program)
10/26/06
School of •
music
LNIVERSITYof l OULSyiUE,
dare to be great
Thursday, October 26, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Convocation
Thoughts of Love
R. Brent Crimm, trombone
MUS 211/Shuster
Debbie Dierks, piano
Arthur Pryor
(1870-1918)
Deh, miei ballenti spiriti
from La Traviata
Giuseppe Verdi
(1813-1901)
Bill Coleman, tenor
MUS 311/-Graham
Mary Ann Mattingly, piano
The Tongues of Men and Angels (1999)
I. Out of the Depths (De Profundis)
Aaron Stepp, trombone
MUS 411/Shuster
Tim Baker, organ
Jay Krush
(b. 1951)
Jason Ham, euphonium
Bonnie Ham, flute
October 27, 2006
Bird Hall
(no program)
Smoking is not p&mitted in the School ofMuac building. In theunlikdy awf cffire cr
othe emargmcy, please walk to the nearest edt. The use of recording d&ices isdrictly
frchtited. Please slence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Voluntary on 'Engelberg' Calvin Hampton
(1938-1984)
Georg Boehm
(1661-1733)
J.S. Bach
(1685-1750)
Vater unser in Himmelreich
Prelude and Fugue in C Major, BWV 547
Sinfonia in honore sancti loannis Baptistae Naji Hakim
1. "Thevoioe of one crying in the wilderness (b. 1955)
Prepare the way of the Lord. .. 11
2 "Behold the Lamb of God, who takes arways
the sin ofthe world!"
3. "I baptize you with water for repentance, but
hewho iscoming after me is mightier than I,
whose sandals I am not worthy to carry; he will
baptize you with the Holy Spirit and with fire."
Suite, op. 5
II. Sdlienne
Maurice Durufle
(1902-1986)
Sonata in F Minor Felix Mendelssohn
I. Allegro moderato e serioso (1809-1847)
II. Adagio
III. Andante: Ffedt.
IV. Allegro assai vivaoe
Please greet the artist at a reception in the lobby
following the concert.
Allareinvited teen Organ maste-dsss given by Dr. Dittofccusing cndfedlve
pradicetechniquss. Thedaeswillbehddtavcrrcw nxrning et 10:00 AM in the
Organ Sudiq Firm 21 cn thelcwe-le/d efthe Music Building.
Ccntinentel Breekfest d9:30.
>o fQi /aoo(o
'goo PH
BIOGRAPHY
John Ditto is Associate Professor of Music (Organ) at the UMKC-
Conservatory of Music and Dance. He is also Director of Music/
Organist at St. Paul’s Episcopal Church, Kansas City, MO. He has
held both positions since 1982. Prior to these appointments he was
on the musicfaculty at Central Methodist University, Fayette, MO.
He has served churches in Iowa, Michigan, and New York. Hewas
Minister of Music at First Presbyterian Church in Evansville,
Indiana.
He received his bachelor’s degree from Drake University, a master's
degree from the University of Michigan, and a doctorate degree
from The Eastman School of Music, where he also was awarded the
coveted Performer’s Certificate. His organ teachers include Jack
Ralston, Robert Glasgow and Russell Saunders.
Ditto has performed widely in the Midwest and the Pacific North¬
west. He has been a featured artist at several AGO Regional
Conventions as well as several Organ Historical Society National
Conventions. He also performed concerts in England and Holland.
He has served on jury panels for several national and international
organ competitions. He has given workshops and lectures for many
AGO chapters and organ conventions. Recently, hewas recognized
as "Distinguishe d Musician” by Sigma Alpha lota National Music
Fraternity.
AM
AY
ft
E
E
ft
Sunday, October 29,2006
7:30 p.m.
Comstock Concert Hall
University of Louisville School of Music
Grace Baugh-Bennett,/?ja/io
Robert Docs, double bass
Stephen Causey, horn
Donald Gottlieb,/Zure
Jack Griffin, viola
Sarah Hill, violin
Trevor Johnson ,oboe
Andrea Levine, clarinet
Paola Manrique, violin
Allison Braid Olson, cello
Eve Witt, bassoon
Fan Xiao, viola
PROGRAM
Adagio and Rondo, K. 617 Wolfgang Amadeus Mozart
(1756-1791)
Donald Gottlieb, flute
Trevor Johnson, oboe
Jack Griffin, viola
Allison Braid Olson, cello
Grace Baugh-Bennett,piano
Sonata (1937) Bohuslav Martinu
(1890-1959)
Allegro poco moderato
Adagio
Allegretto-Poco men o-Allegretto
Moderato (poco Allegro)
Donald Gottlieb .flute
Sarah Hill, violin
Grace Baugh-Bennett,piano
INTERMISSION
Nonet in F minor, Op. 2 (1894) Samuel Coleridge-Taylor
(1875-1912)
Allegro moderato
Andante con moto
Scherzo: Allegro
Finale: Allegro vivace
Trevor Johnson, oboe
Andrea Levine, clarinet
Stephen Causey, horn
Eve Witt, bassoon
Paola Manrique, violin
Fan Xiao, viola
Allison Braid Olson, cello
Robert Docs , double bass
Grace Baugh-Bennett, piano
The “glass harmonica” is a derivative of the musical glasses, a bell-type
instrument made of glass or other brittle material which are rubbed in a
certain fashion to respond like the strings on a bowed instrument. For
contrasting sound, the glasses are sometimes stmck. The instrument came
into being around the 11th century. Benjamin Franklin became acquainted
with the instrument in spring 1761 during a visit to England when he heard
Edmund Delaval play the glasses (which were filled with water of varying
levels to control the pitch). Franklin was so impressed with the instrument
that he worked to improve it. He took the bowls, fitted them concentrically
with a horizontal rod attached to a crank which was operated by a pedal.
Careful gradation of size insured a more accurate tuning than was possible
with the water. The close proximity of the rims of the glasses which were
moistened by water enabled greater virtuosity with chords and runs than
was possible with the glasses standing separately. Although the Germans
call this instrument the “Glasharmonika”, Franklin called it an “armonica”
as a compliment to the musical Italian language. The instrument enjoyed
great popularity in Europe.
Mozart became acquainted with the armonica during his visits to England in
1764 and Milan in 1771. The Mozart family became friends with the
armonica virtuoso Marianne Davies in 1773. When Leopold Mozart heard
her play, he immediately expressed interest in owning an armonica. When
Wolfgang Mozart had the opportunity to play the instrument at the home of
Anton Mesmer (the noted hypnotist), his father was further excited by the
instrument. In 1791 the blind armonica virtuoso Mariane Kirchgassner came
to Europe on tour. Wolfgang Mozart took the opportunity to compose both
an Adagio for Glasharmonika, K. 356, and the Adagio and Rondo for
Glasharmonika, Flute, Oboe, Viola, and Cello, K. 617. Kirchgassner is
known to have given the highly successful premiere of the Adagio and
Rondo in Vienna on August 18,1791. Owing to Mozart’s untimely demise,
this has become his final known piece of chamber music. The first edition
of the piece (Breitkopf & Hartel, 1799) mentions the piano as an alternative
to the glass harmonica, apparently at Constanze Mozart’s suggestion that
“it might pass for a piano piece.”
Czech composer Bohuslav Martinu was bom in Bohemia in 1890. The son
of a watchman and tower keeper, he learned early the isolation which would
characterize him the rest of his life. Martinu began violin studies at an early
age, progressing so rapidly that by 1906 he entered the Prague Conserva¬
tory as a violin student. Subjects outside of music interested him so greatly
that he neglected his studies and was expelled in 1910 for “incorrigible
negligence.” Martinu returned to composing, which he had begun at age
ten. He avoided conscription in World War I by teaching music. He played
as second violinist in the Czech Philharmonic from 1918 until 1923, when he
briefly reentered the Prague Conservatory as a composition student of Josef
Suk. Martinu had still not acquired good study skills. He left the conserva¬
tory for good, winning a small scholarship to settle in Paris, where he re¬
mained until the Nazis blacklisted him in 1940. During this time Martinu
studied with Albert Roussel as well as making the acquaintance of Les Six
and Stravinsky. He was also exposed to jazz and ragtime influences. He
moved to Portugal in 1940 on his way to the United States in 1941, where
he served as visiting professor of music at Princeton. From 1953 to 1955
Martinu lived in Nice, returning to the United States in 1955 to teach at the
Curtis Institute. In 1956 he left to become a professor at the American
Academy in Rome. He divided his time between Italy and Switzerland until
his death in 1959.
Martinu’s compositional style reflects a number of very diverse influences
ranging from impressionism, jazz, and ragtime to experiments with serial
and contrapuntal writing, always including his strong affinity for his native
Czech music. He is not considered to belong to any particular school of
composition. Most sources credit the Sonata for Flute, Violin, and Piano
as being composed in 1937. The first movement is freely tonal with rhyth¬
mic drive and cross rhythms. The second movement, Adagio, is sustained
and expressive in varying meters. A bouncy Scherzo follows with a lovely
contrasting trio section. The piano introduces the fourth movement, which
has a flute cadenza preceding the solo piano episode which leads to the
closing return of the opening motivic material.
Samuel Coleridge-Taylor was bom in 1875 in Holbom, England. His father
was a native of Sierra Leone who came to England to study medicine.
Coleridge-Taylor was raised by his mother, his father having returned to
Sierra Leone either before the boy’s birth or while the boy was very young.
As a child, Coleridge-Taylor studied violin and sang in the choir of St.
George’s Church in Croydon. He was admitted to the Royal College of
Music as a violin student at age 15 by Sir George Grove. During his studies,
Coleridge-Taylor’s interest in composition grew. In 1893 he was awarded
the Royal College of Music’s fellowship in composition. Coleridge-Taylor
wrote numerous chamber works as a student, all of which were well re¬
ceived by students and faculty (and music critics as well).
The Nonet in F Minor, Op. 2, dates from Coleridge-Taylor’s student years.
It was written in 1894, and Coleridge-Taylor inscribed the first page, “Gradus
ad Pamassum.” The piece reflects Dvorak’s strong influence on the young
composer, opening boldly with a first movement in sonata-allegro form.
The second movement is characterized by florid lines. It is followed by a
goblinesque” scherzo, so characterized by its minor key and pizzicato string
writing. Dvorak’s influence continues to be evident in the final movement,
which opens in minor key and closes in major key. The Nonet was unpub¬
lished until 2002 when Patrick Meadows prepared a new performing edi-
2006-2007 marks the Ceruti Chamber Players’ twenty-first season. The
Louisville-based ensemble was one of two United States ensembles se¬
lected to participate in the first Osaka (Japan) International Chamber Mu¬
sic Festa. The critically acclaimed Ceruti Chamber Players have performed
at the Master Musicians Festival (Somerset, Kentucky), Musikfest Bethlehem
(Pennsylvania), Piccolo Spoleto Festival (Charleston, South Carolina), the
Indiana State University Contemporary Music Festival (Terre Haute. Indi¬
ana), and The Louisville Orchestra’s New Dimensions Series. The
ensemble’s performances have included many Louisville premieres of con¬
temporary music as well as the world premiere of Frederick Speck’s Post¬
cards for Jlse (written for the Ceruti Chamber Players). Following the
ensemble’s Louisville premiere of James Chaudoir’s Quartet for Violin,
Clarinet, Cello, and Piano, the Ceruti Chamber Players recorded this
work for Capstone Records {On the Beach at Night, CPS-8672). Their
performances have aired on Kentucky Educational Television, the former
Louisville in Concert series on WFPK-FM, the University of Louisville
Concert Hour on WUOL-FM, and Lunchtime Classics on WUOL-FM.
In 2001 the ensemble inaugurated its annual Sommermusik series. This
season the Ceruti Chamber Players will perform on the Classical Chamber
Music Concert Series at Indiana University Southeast and the R. Inman
Johnson Guest Recital Series at Southern Baptist Theological Seminary in
addition to its regular season performances at the University of Louisville.
Pianist Grace Baugh-Bennett maintains a busy career as a soloist and
collaborative pianist. She holds the Bachelor of Music and Master of Mu¬
sic degrees in piano performance. Her principal teachers include Nina
Svetlanova, Lee Luvisi, and Doris Owen Bickel. Ms. Baugh-Bennett’s solo
performances include appearances with the Louisville Ballet and The Lou¬
isville Orchestra, a recital as convention artist for the Kentucky Federation
of Music Clubs State Convention, and recitals for Special Audiences, Inc.,
in Atlanta, Georgia. Ms. Baugh-Bennett has performed on The Louisville
Orchestra’s New Dimensions series, the radio recital series WFPK Live!,
the Piccolo Spoleto Festival in Charleston, South Carolina, Musikfest
Bethlehem in Bethlehem, Pennsylvania, the Festival of American Art Song
in Boulder, Colorado, and the Cleveland Art Song Festival in Cleveland,
Ohio. She performed at the First Osaka (Japan) International Chamber
Music Festa with the Ceruti Chamber Players. Ms. Baugh-Bennett serves
as pianist for The Louisville Orchestra, principal pianist of the Ceruti Cham¬
ber Players, and pianist/artistic director of Ars Vocalis. She teaches as
Instructor of Piano at Indiana University Southeast.
Robert Docs holds the Bachelor of Music degree in music education from
Kent State University and Master of Music degree in double bass perfor¬
mance from Ball State University. His principal teachers include Dr. Phillip
Albright, Anthony Knight, and Dr. Moshe Amitay. Mr. Docs serves as
principal double bassist of the Ceruti Chamber Players in addition to fre¬
quent performances with jazz combos and Broadway Series shows. In
2000 he founded the New Millennium Duo with pianist Grace Baugh-Bennett
A native of Akron, Ohio, Mr. Docs has been a member of The Louisville
Orchestra since 1980.
Stephen Causey was bom in Memphis, Tennessee. He grew up in a
musical family, beginning violin study at age four before switching to the
hom at age ten. Mr. Causey holds both Bachelors and Masters degrees
from the University of Louisville School of Music. His teachers include
Richard Dolph in Memphis and Jerry Ball, former Dean and hom instructor
at the University of Louisville School of Music. Mr. Causey has been a
member of the Louisville Orchestra since 1969, when he moved to Louis¬
ville. He lives in Jeffersontown with his wife Sue and his daughter Rosalind.
Donald Gottlieb has been the principal piccoloist of The Louisville Or¬
chestra since 1978. He graduated from Baldwin-Wallace College where
he studied flute, with a special emphasis on the piccolo with William J.
Hebert of the Cleveland Orchestra. Mr. Gottlieb has been a featured solo¬
ist with The Louisville Orchestra on both flute and piccolo on numerous
occasions. He gave the United States premiere of Powel Symanski’s Ap¬
pendix for solo piccolo and chamber orchestra in 1987, and has also been a
featured soloist at The National Flute Convention. When not performing
with The Louisville Orchestra, Mr. Gottlieb shares his passion for the flute
and piccolo with people through his teaching at his home studio, the Univer¬
sity of Louisville School of Music, and master classes.
Violist Jack Griffin has been a member of The Louisville Orchestra since
1976. He received a Bachelor of Music and a Bachelor of Music Educa¬
tion degree from the University of Louisville, where he studied with Virginia
Schneider. Mr. Griffin pursued graduate studies in viola performance at the
University of Cincinnati College Conservatory of Music, studying with Donald
Mclnnes. He is currently studying toward a Master of Education degree at
Indiana University Southeast. Additional studies have included the Aspen
Music Festival with Alan Iglitzen and Sewanee Summer Music Festival
with Colin Kitching. Mr. Griffin has appeared as soloist with The Louisville
Orchestra and the Choral Arts Society. He founded Commonwealth Musi¬
cians, providing professional musicians for entertainment and community
services in the region. Mr. Griffin currently serves as principal viola of The
Louisville Orchestra.
A native of Louisville, Kentucky, violinist Sarah Hill received her Master
of Music degree from Indiana University, where she studied with Paul Biss.
She has performed in The Louisville Orchestra, the Evansville Philharmonic,
the Columbus Symphony Orchestra, and currently serves as assistant con-
certmaster of the Owensboro Symphony. Ms. Hill has performed in numer¬
ous summer music festivals, including the Domain Forget Festival of Que-
ec, the National Orchestral Institute, and the Spoleto Festival of Charles¬
ton, SC. She regularly performs with the Ceruti Chamber Players.
Trevor Johnson, Assistant Principal Oboe with The Louisville Orchestra,
is an active participant in Louisville's musical scene. He also serves as
principal oboist with the Ceruti Chamber Players and Principal Oboe with
the Louisville Bach Society. iMr. Johnson has been soloist with the Emerson
String Quartet, the Louisville Bach Society, the Fort Dodge (IA) Symphony
Orchestra, and was a featured guest artist at the 1997 Octoboefest Con¬
vention. He has performed in such varied venues as the Ohio Light Opera,
the Fort Lee (NJ) Chamber Music Series, and on stage at Alice Tully Hall
at Lincoln Center. Mr. Johnson holds the Master of Music degree from the
Hartt School, where he was a student of Humbert Lucarelli, and the Bach¬
elor of Music with Highest Distinction from the University of Iowa, where
he was a student of Mark Weiger. He serves as instructor of oboe at
Indiana University Southeast.
A native of Queens, New York, Andrea Levine was appointed principal
clarinet of The Louisville Orchestra in 2003. She earned the Bachelor of
Music degree from the Eastman School of Music, where she served as
principal clarinet of the Eastman Wind Ensemble and Eastman Philharmonia
on tours to Japan and Germany. While completing graduate studies at the
Cleveland Institute of Music, Ms. Levine also served as principal clarinet of
the Akron Symphony and was professor of clarinet at Hiram College. Her
major teachers include Franklin Cohen, Daniel Gilbert, Kenneth Grant,
Mitchell Estrin, and Lawrence Sobol. Ms. Levine was a fellow at the
Tanglewood Music Center and has participated in the Chautauqua, Sarasota,
and Blossom music festivals. Prior to coming to Louisville, she was a mem¬
ber of the New World Symphony in Miami, Florida. Ms. Levine has been a
frequent extra player with the Cleveland Orchestra, the Cleveland Pops
Orchestra, and the symphony orchestras of Indianapolis and Wheeling. Ms.
Levine has appeared as soloist with the Eastman Philharmonia, the Cleve¬
land Pops Orchestra, the Eastman Wind Ensemble, and The Louisville Or¬
chestra.
Violinist Paola Manrique was bom in Guayaquil, Ecuador. She started her
musical studies at age six with her father, who introduced her to the violin.
By the age of sixteen she had graduated from the National Conservatory of
Music of Guayaquil. In 1992 she was awarded a scholarship by the French
government to study violin in Toulouse, France. In 1994 Ms. Manrique
came to the United States to perform at the United Nations and at the
Organization of the Americas with the Filanbanco Orchestra, in which she
served as concertmaster. She came to Louisville in 1997, graduating in
2001 with her undergraduate degree from the University of Louisville School
of Music, and completing her Master’s degree there in 2003. In the sum¬
mer Ms. Manrique teaches and participates at the Concordia’s Summer
Music camp in Nebraska. Currently she serves as a violin teacher for the
University of Louisville School of Music’s Preparatory Department (Oldham
County Art Center location) and performs as a member of the Evansville
Philharmonic Orchestra.
Allison Braid Olsen began cell ° studies at age nine. Having grown up in
a musical home, she activity performed in orchestral and chamber music
settings in her youth, including the Cincinnati Junior Strings and Youth Or¬
chestra. Many of her sumrn ers through high school and college were spent
at music festivals, some of which include Eastern Music Festival, The Grand
Teton Music Festival, KentH31 ossom - the National Orchestra Institute, the
National Repertory Orchestra- Spoleto USA, The Lancaster Festival, and
fhe T akpside Summer Svmphony. Ms. Braid Olsen received a Bachelor of
Music Performance from Bice University, a Master’s Degree in Music
Performance from the University of Akron, and continued her studies at
The Cleveland Institute of JVlusic in the Professional Studies Program. Her
teachers have included Desmond Hoebig, Eric Kim, Shirley Trepel, Michael
Haber, and Stephen Geber. Ms. Bra id Olsen has also performed and toured
internationally with the North Carolina School for the Arts in Europe, in the
Middle Fact with the Jerusalem International Symphony Orchestra, as well
as in Russia. Formerly the principal Cello of the Akron Symphony Orches¬
tra and a member of the Marini String Quartet, Ms. Braid Olsen is now the
Principal Cello of the Owensboro Symphony Orchestra and performs regu¬
larly with The Louisville orchestra.
Eve Witt is a freelance bassoonist and private teacher living in the Louis¬
ville area. She received h^ r Bachelor’s degree in Music Education, cum
lande from the I Jnivercitv of Evansville where she studied with Edwin Lacy.
Ms. Witt moved to Louisville in 1997 after doing graduate work with Pro¬
fessor Jeff Keesecker at Florida State University. She received her Mas¬
ter of Music degree, Magn a cum Hude, in bassoon performance at FSU
and has also done doctoral coursework there. While living in Tallahassee,
she held the position of second bassoonist with the Tallahassee Symphony
as well as the second bassoon position with the Albany (GA) Symphony.
Ms. Witt currently serves as third bassoonist and contrabassoonist with the
Evansville Philharmonic an d i s on the auxiliary list for The Louisville Or¬
chestra. Other educational pursuits have included summers spent at the
Aspen Music Festival and tfr e Sarasota Chamber Music Festival. She serves
as Instructor of Bassoon at Bellarmine University.
Violist Fan Xiao earned the High School Diploma in Violin from the Central
Conservatory of Music in Beijing. China, where he studied with Professors
Yun Zhao and Jue Li Mr. Xiao subsequently completed his Bachelor of
Music in Viola at the conservatory, studying with Professor Ke-Qiang Sui.
He performed as Associate Principal Viola of the Central Ballet Orchestra
in Beijing and was a member of the China National Symphony Orchestra,
where he also performed in string quartets. Mr. Xiao has also performed
with the New Century and the Beijing Concert Hall Chamber Orchestras.
As a member of the Strings Chamber Music Group in Beijing, Mr. Xiao was
heard on numerous studio recordings of movie soundtracks and other mu¬
sic Prior to joining The D° uis ville Orchestra in 1999, Mr. Xiao worked
toward an Artist Diploma in Music at Indiana University South Bend.
Derby City Brass
Comstock Hall
October 29, 2006
(no program)
Kirutiioiie Lloyd, Director of Playlreni
loss Dunlap, master of Scaremonies
Monday Evening
October 31, 2006
8:00 p.m.
Margaret Comstock Concert Hell
Smoking is not permitted in the School of Music building. In the unlikely event of fire orother
emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. On Pain of Death, please silence cell phones, electronic watches and
pagers. Thank you.
Pre-Concert Organ Music Guy Younce
PROCESSION BF THE 0BCHE8TBB "
Edvard Grieg
(f died 1 907)
Paul Dukas
(f died 1 935)
arr. John La Barbarian
undead)
Who You Gonna Call? arr. Brad Ritchie
undead)
Time Warp arr. John La Barbarian
undead)
Riff Raff - Josh Hawkins *
Magenta - Caroline Chapman *
Columbia - Emily Ward
Members of University Opera Workshop/Theatre
Peer Gynt Suite No. 1
II. Aase's Death
Invisible conductor
III. In the Hall of the Mountain King
John Rohner, conductor
The Sorcerer's Apprentice
Star Wars
III- Imperial March
John Williams
undead)
Symphonie Fantastique
IV. March to the Scaffold
Hector Berlioz
(f died 1 869)
Irani limn Bhm-ciestii
Kimcherie Lloyd, director
Joe Ortiguero, graduate assistant
Alexandra Ostroff, graduate assistant
Charlie Blanton & Mihai Spin, managers
FirstViolin
Gerome Stewart,
haunt-cert master
Juan Carlos Ortega
Scott Moore
Alexandra Ostroff
Mihai Spin
Leslie Heinzen
Gabrielle Boguslaw
Anna Dolan
Jordan Lynern
Alex Peterson
Jedediah Cowart
Second Violin
Joe Ortiguera
Cordia Thompkins
Arezou Etemad
Franzeli Sharp
Nathan Chapman
Elizabeth Wooldridge
Ashley Wolf
Lia Ramirez
Emily Caudill
Heather Norwood
Viola
James Dersch
Monica Clarke
Scott Farley
Felicia Hogan
Alisson Reber
Sarah Speck
Abby Laswell
Hannah Turi
Alison Simpson
Britney Whelan
Whitney Grubb
Dominic Young
Daniel Crawley
* guest performer
** 'Thriller" arr.
Brad Ritchie
Cello
Marlene Ballena
Molly Goforth
Kimberly Burger
Clayton Vaughn
Erin Cassel
Charlie Patton
Nicole Boguslaw
Katie Schladand
Audrey Bowlds
Fred Speck
Bass
Nick Wooldridge
Elizabeth Adams
Chris Korenkiewicz
Lauren Taylor
Charlie Blanton
Felice Howard
Grant Jacobs
Alice Markiewicz
Piccolo
Beth Alexander
Flute
Katie Fondrisi
Demilou DeGuzman
Beth Alexander
Oboe
Gretchen Reiter
Mary Beth Mann
Clarinet
Chris Phillips
Sharon Edmunds
Carolyn Frazio
Adam Thomas
Saxophone
Kevin Arbogast
Jon Rohner
MattReidinger
Daniel Reams
Bassoon
Erica Jones* **
Jennifer Rockland ’
Horn
Karla Neal
Dominic Rotella
Kate Reyman
Lindsay Pummell
Nikki Smith
Miranda Polzer
Trumpet
Ryan Nottingham
Michael Swope
Don Johnson
Charles Calloway
Trombone
Sarah Finger
"Rusty" Crimm
Bass Trombone
Daniel Stull
Tuba
Aaron Gaither
MattMurphy
Timpani
Matt Greenwood
Rodney Younger
Percussion
Matt Greenwood
Regan Heckscher
Brittany Allen
RodneyYounger
Brad Ritchie
Harp
Amy Isbell *
Piano
Caroline Chapman
. . . J&CSur,
a!TCamenco ( Ensem6Ce
presents
Los Cuatro Elementos
University of Louisville
School of Music
Comstock Recital Hall
November 2, 2006 8:00 PM
ffie (power of the (Four Elements
Wave you ever smelt the tree’s peifume?
Have you ever Heard tfie wind sing?
Have you ever seen tfie sun’s power?
Have you everfeCt the wave’s embrace?
It is the Tour elements
As they were meant to he
Let the Earth watch over you
Let the Air guide you
Let the Tire give you strength
Let the Water hring you peace
The Tour‘Elements
Elements of Eternity
Program
Prelude
Volvera (bulerias)
Aire
Para Llevarte a Vivir
Music: Javier Ruibal
Guajiras
Nubes de Colores
Traditional
Alegnas de Tu Sonrisa
Choreography; Juan Parra
Fuego
Tarant a
Bulerias
Tango Febril
Farruca
Tierra
Martinete del Rey
Ldgrimas del Pueblo (solea por bulerias)
Dos Flechas (solea)
Agua
Habanera de Agua
Cielo Vivo
Traditional
Solea por Bulerias
Madura (bulerias)
Postlude
Volvera (bulerias)
All music and choreography by ...Al Sur
unless otherwise noted
. . . fltSur,
a 1 Flamenco fcnsemfjk
Graciela Perrone,
dance / vocals
Gareth Jones,
guitar / dance / percussion
Sidney King,
double bass
Brian Kushmaul,
percussion
Technical Staff
Lighting:
Scott Bagley
Sound:
Adam Dennison
Derrick Pedolzky
Poetry:
Read by Helen Starr
www. alsurflamenco. com
Smoking is not permitted in the School of Music Building. In the unlikely event of fire or other emergency,
please walk to the nearest exit. The use of recording devices is strictly prohibited. PLEASE SILENCE CELL
PHONES, ELECTRONIC WATCHES, AND PAGERS. Thank you.
Thursday, November 2, 2006 Convocation
3:00 p.m.
Margaret Comstock Concert Hall
La plus que lente Claude Debussy
(1862-1918)
Myco Tran Wulkopf, piano
MUS 201/ Cherrix
Dein blaues Auge, Op. 59 Johannes Brahms
(1833-1897)
Justin Wilkey, baritone
MUS 211/Graham
Mary Ann Mattingly, piano
Victimae Paschali Laudes Wipo of Burgundy
Dedicated, to the memory of Leon Rapier (c. 995-1048)
arr. P. Harbison
Ryan Nottingham, trumpet
MUS 411/ Tunnell
Debbie Dierks, piano
Cavatine for Trombone and Piano Camille Saint-Saens
(1835-1921)
Krista Eifier, trombone
MUS 211/Shuster
Myco Tran Wulkopf, piano
Concerto No. 2 in Eb
Allegro maestoso
Leah Simer, horn
MUS 211/Heim
Jessica Litwiniec, piano
Concerto in Eb, Op. 91
Allegro
Chris Phillips, clarinet
MUS 211/Zavadil
Carolyn Fassio, clarinet
David George, piano
Come dal del predpita
from Macbeth
Nathan Wilson, bass
MUS 613/Graham
Debbie Dierks, piano
W. A. Mozart
(1756-1791)
Franz Krommer
(1759-1831)
Giuseppe Verdi
(1813-1901)
School of
music
IMVERSHYof I0UISVILLE
^ ---
dare to be great
presents
Paul York, ceiio
with
Michael Gurt, piano
Faculty Recital
Thursday Evening
November 3, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonata in F Major, Op. 5, No. 1 Ludwig vanBeethoven
Adagio Sostenuto- Allegro (1770-1827)
Rondo Allegro vivace
Sonata in D Minor Frank Bridge
Allegro ben moderato (1879-1941)
Adagio ma non troppo - Andante con moto -
Molto allegro e agitato
INTERMISSION
Sonata in C Minor, Op. 65
Allegro
Andante tranquillo sostenuto
Allegro moderato
Camille Saint-Saens
(1835-1921)
BIOGRAPHIES
Paul York, Cello
An accomplished soloist, chamber musician and teacher, Paul York has ap¬
peared in recital and with orchestras in the U.S. and abroad. Mr. York serves
on the string faculty at the University of Louisville, where he maintains an active
teaching and performing schedule. Recent solo appearances include a perfor¬
mance of Vivaldi's Double Concerto in G Minor with internationally acclaimed
cellist Yo-Yo Ma and he performed recitals on a tour of Japan in April of 2006.
An avid chamber musician, Mr. York is a member of the Louisville String Quartet
and was a founding member of The Logsdon Chamber Ensemble, a Texas
Commission of the Arts Touring ensemble as well as ensemble-in-residence at
Hardin-Simmons University .As a champion of contemporary music, Mr. York
has commissioned works for the cello by such composers as Stefan Freund,
Marc Satterwhite, Steve Rouse, Paul Brink, and Fredrick Speck. He also pre¬
miered Alfred Bartle's new orchestration of Bartok's First Rhapsody for cello with
the Sewanee Festival Orchestra and in February of 2005 he performed the cello
concerto Colored Field by Aaron Kernis with the Louisville Orchestra.
Mr. York has participated in numerous summer festivals. He is currently a
member of the artist faculty at the Sewanee Summer Music Festival, where he
performs solo and chamber works, in addition to his teaching schedule. He has
also performed at Strings in the Mountains in Colorado, the Abilene Chamber
Music Series, and served as principal cello with the Des Moines Metro Opera
Orchestra. He has held principal cello positions with numerous regional orches¬
tras and performed as a member of the cello section of the Saint Louis
Symphony under the direction of Leonard Slatkin.
Mr. York received his bachelor's degree from the University of Southern
California and his master of music degree from the University of California at
Santa Barbara, where he studied with Ronald Leonard. Other teachers include
Gabor Rejto, Owen Carman, and Louis Potter. The recipient of numerous honors
and awards, Mr. York was selected to participate in the prestigious Piatigorsky
seminar at the University of South California. Mr. York can be heard on the
Centaur, Arizona University Press and CRS labels and is presently recording
a CD new works written specifically for him.
Michael Gurt, Piano
Michael Gurt is Paula Garvey Manship Distinguished Professor of Piano at
Louisiana State University. Professor Gurt serves as Piano Mentor at the Hot
Springs Music Festival, and is also the head of the piano department at the
Sewanee Summer Music Center. He has served as Piano Chair of the Louisiana
Music Teachers Association, and he has taught at two summer music seminars
held at Tunghai University in Taichung, Taiwan. Professor Gurt holds degrees
from the University of Michigan and the Juilliard School. In 1982 he won First
Prize in the Gina Bachauer International Piano Competition, and he was also a
prize winner in international competitions held in Pretoria, South Africa, and
Sydney, Australia. (over)
Gurt has performed as soloist with the Chicago Symphony, the Philadelphia
Orchestra, the Utah Symphony, the Baltimore Symphony, the Memphis
Symphony, the Capetown Symphony, the China National Symphony Orchestra,
and the Natal Philharmonic Orchestra in Durban, South Africa. He has made
solo appearances in Alice Tully Hall in New York, Ambassador Auditorium in Los
Angeles, Orchestra Hall in Detroit, City Hall in Hong Kong, the Victorian Arts
Center in Melbourne, Australia, Baxter Hall in Capetown, South Africa, and the
Attaturk Cultural Center in Istanbul, Turkey. Gurt has collaborated with the
Takacs String Quartet, and he recently performed at the Australian Festival of
Chamber Music in Townsville, Queensland. He has served on the juries of both
the Gina Bachauer International Piano Competition and the New Orleans
International Piano Competition, and he has recorded on the Naxos, Centaur,
and Redwood labels.
School of
music
IMVERSITYof IDUISVILLE.
dare to be great
presents
University Jazz
Combos
Tyrone Wheeler,
Ansyn Banks,
and
Jerry Tolson,
directors
Tuesday Evening
November 7, 2006
8:00 p.m.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices andflash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
"Louis Armstrong" Combo
Tyrone Wheeler, director
Alexis Marsh, graduate assistant
Ladybird
Tadd Dameron
Blue Bossa
Kenny Dorham
Tenor Madness
Sonny Rollins
Neel Barua, tenor saxophone
JonKohn e, piano
Chris Seal, guitar
Chris Korenkiewicz, bass
Megan Samples/Nick Layman, drums
Dolphin Dance
"Clifford Brown" Combo
Ansyn Banks, director
Brent Hall, graduate assistant
Herbie Hancock
Yesterdays
Jerome Kern
The Song is You
Nat McCoy, tenor saxophone
Bill Clark, piano
Ian Hayes, guitar
Will Roberts, bass
Justin Heaverin, drums
Jerome Kern
"Dizzy Gillespie" Combo
Jerry Tolson, director
David Clark, graduate assistant
Windows
Chick Corea
A Mother's
Sigh
arr. Alexis Marsh
Curtis Kennedy
Cape Verdean Blues
Horace Silver
BrentHall, trumpet
David Clark, alto saxophone
Alexis Marsh, alto saxophone
Colin Lippy, piano
Curtis Kennedy, guitar
Natalie Boeyink, bass
Brett Hawkins, drums
arr. Alexis Marsh
The University of Louisville School of Music
presents the
New Music Festival
November 8-11, 2006
with
Michael Colgrass
featured composer
of louisville
Schoolof •
music
INIVERSTlYof IDUISVLLLE
— “-
dare to be great
For many years the School of Music at the University of Louisville has been associated
with the performance of contemporary music and the creation of new music through the
composition and performance of works by the resident faculty artist performers and com¬
posers, students, and guests of the School. This association was established through the
connections between the School of Music and the Louisville Orchestra during their distin¬
guished history in new music performance and, more recently, through the administra¬
tion of the internationally recognized University of Louisville Grawemeyer Award for Music
Composition. The commitment of the school to the creation arid performance of new mu¬
sical works and combination of opportunities presented for the study of new and contem¬
porary music is included in our mission statement that confirms:
The University of Louisville School of Music is committed to teaching music as
an artistic, academic and professional discipline; to fostering the performance,
creation, study and use of music in a variety of ways and for diverse communi¬
ties; and to contributing innovative musical leadership in the city of Louisville
and beyond.
The New Music Festival for 2006 is pleased to feature both student and faculty artists of
the School of Music, including faculty chamber music ensembles, the University Wind
Ensemble, the University Symphony Orchestra, the University New Music Ensemble, and
the Collegiate Chorale and Cardinal Singers choral ensembles. Music of the School's resi¬
dent faculty and student composers is showcased in a series of concerts that highlight
their contributions to the culture of contemporary music so important to the School dur¬
ing its distinguished history. We are excited to host the debut of chamber ensemble Trio
Arsenal in an innovative premiere collaborative for student works. The New Music Festi¬
val is especially pleased to welcome the presence of composer-in-residence Michael
Colgrass, and to feature performances from his extensive catalogue of works.
On behalf of the faculty, staff, and students of the School of Music and the University of
Louisville, I welcome you to the New Music Festival for 2006.
t/
Christopher Doane
Dean, School of Music
University of Louisville
NEW
MUSIC
at the
university
of louisville
New Music Festival
November 8-11, 2006
Michael Colgrass
featured composer
Table of Contents
Biography
Michael Colgrass, featured composer
Wednesday, November 8
Premiere Collaborative: New Chamber Works by Student Composers
Program
Program Notes
Thursday, November 9
Faculty Artists: New Chamber Music
Program
Program Notes
Friday, November 10
University Neiu Music Ensemble, Collegiate Chorale & Cardinal Singers
Program
Program Notes, Texts and Translations
Personnel
Saturday, November 11
University Symphony Orchestra and Wind Ensemble
Program
Program Notes
Personnel
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5
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30
31
32
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Organizing Committee
Dr. Steve Rouse
The New Music Festival
Chair:
Dr. Anne Marie de Zeeuw
Dr. John Gibson
Dr. Kent Hatteberg
Professor Paul York
Professor Kimcherie Lloyd
Ms. Carrie Page
Dr. Marc Satterwhite
Dr. Frederick Speck
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BIOGRAPHY
Michael COLGRASS (b. 1932) began his musical career in Chicago where his first profes¬
sional experiences were as a jazz drummer (1944-49). He graduated from the University of Illinois
in 1954 with a degree in performance and composition and his studies included training with
Darius Milhaud at the Aspen Festival and Lukas Foss at Tanglewood. He served two years as timpa¬
nist in the Seventh Army Symphony Orchestra in Stuttgart, Germany and then spent eleven years
supporting his composing as a free-lance percussionist in New York City where his wide-ranging
performance venues included such varied groups as the New York Philharmonic, The Met, Dizzy
Gillespie, the Modern Jazz Quartet, the original West Side Story orchestra on Broadway, the Colum¬
bia Recording Orchestra's Stravinsky Conducts Stravinsky series, and numerous ballet, opera and
jazz ensembles. He organized the percussion sections for Gunther Schuller's recordings and con¬
certs, as well as for premieres of new works by John Cage, Elliott Carter, Edgard Varese, and many
others. During this New York period he continued to study composition with Wallingford Riegger
(1958) and Ben Weber (1958-60).
Colgrass has received commissions from the New York Philharmonic and The Boston Sym¬
phony (twice), as well as the orchestras of Minnesota, Detroit, San Francisco, St.Louis, Pittsburgh,
Washington, Toronto (twice), the National Arts Centre Orchestra (twice), The Canadian Broadcast
Corporation, The Lincoln Center Chamber Music Society, the Manhattan and Muir String Quar¬
tets, The Brighton Festival in England, The Fromm and Ford Foundations, The Corporation for
Public Broadcasting, and numerous other orchestras, chamber groups, choral groups and soloists.
He won the 1978 Pulitzer Prize for Music for Deja vu, which was commissioned and pre¬
miered by the New York Philharmonic. In addition, he received an Emmy Award in 1982 for a PBS
documentary "Soundings: The Music of Michael Colgrass." He has been awarded two Guggenheim
Fellowships, A Rockefeller Grant, First Prize in the Barlow and Sudler International Wind Ensemble
Competitions, and the 1988 Jules Leger Prize for Chamber Music.
Among recent works are Ghosts of Pangea (2000) for orchestra, commissioned by the Uni¬
versity of Miami in Oxford, Ohio, for their millennium celebration. Dream Dancer (2001) for alto
saxophone and wind orchestra, commissioned by the World-Wide Concurrent Premieres & Com¬
missioning Fund, Inc. for 25 wind ensembles, and Crossworlds (2002) for flute, piano and orchestra
commissioned by the Boston Symphony Orchestra and premiered with soloists Marina Piccinini
and Andreas Heafliger. In 2003 he conducted the premiere of his new chamber orchestra version of
the Bach-Goldberg Variations with members of the Toronto Symphony Orchestra.
Recently, he devised a system of teaching music creativity to children which he has taught to
middle and high school music teachers who have used his techniques to teach children to write and
perform new music of their own. His articles on these activities have appeared in the Music Educa¬
tors journal (September 2004) and Adultita, an Italian education magazine. He has also written a
number of works for children to perform.
As an author, Colgrass wrote My Lessons With Kami, a narrative/exercise book, outlining his
techniques for performance and creativity. He also gives workshops throughout the world on tire
psychology and technique of performance.
He lives in Toronto and makes his living internationally as a composer. I lis wife, U1 la, is a
journalist and editor who writes about music and the arts, and his son Neal is an editor, journalist
and screenwriter.
For more information see: www.michaelcolgrass.com.
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the New Music Festival presents
TrioArsenal
with
Emily Hindrichs, Soprano
Premiere Collaborative:
New Works by Student Composers
Wednesday, November 8, 2006 at 8:00 p.m.
Margaret Comstock Concert Hall
PROGRAM
The Orchid and the Sphinx (2006)
Adam Hardin
(b. 1982)
...and in such lies there is a precious truth
Aaron Stepp
(b. 1985)
Amazing Effort Crystallized
Christian Gentry
(b. 1978)
A Raindrop in the Ocean
Shaun David Crowdus
(b.1979)
Thanksgiving Over Water
Chris Seal
(b. 1982)
Nonsense or Sorcery ?#%*!
Jeremy Podgursky
(b. 1975)
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PROGRAM NOTES
(Written by the composers)
The Orchid and the Sphinx Adam Hardin
When I started writing this piece I had two ideas in mind. First was creating the feeling of floating
or flying, and second was the idea of two distinct chords interlocking to create a new chord. Both
of these ideas remained as the most important shaping factors of the piece. The second idea, that of
musical objects interlocking, has been developed to include all kinds of examples; in the piece,
musical elements go in and out of sync with each other, things push and pull on one another, and
elements combine to create something new. After having nearly completed work on the piece, 1
realized that all of these ideas closely resemble symbiotic relationships in nature.
Because of this, I originally thought of titling the piece Symbiosis. 1 decided that was too scientific
sounding for this particular work and instead went looking for different examples of symbiotic
relationships in nature. After passing up a lot of instances of fungi and insects, I found a unique
relationship involving one particular genus of orchid found in Madagascar. This type of orchid has
a tube at the back of its lip that is about a foot long, and it keeps its nectar at the very bottom of it.
Darwin hypothesized that a moth would have to exist with a tongue at least that long in order for
the flower to be pollinated. Although his idea was considered laughable at the time, years after his
death, just such a moth was found. The layman's term for it is the Sphynx moth.
When I was writing this piece, I was thinking a lot about the push and pull involved in human
relationships and many of the musical images can be associated with a working through of conflict
both with others and with myself. Because of this, the piece is very close to my heart. I laving said
all that, I hope that you will hear it apart from any specific imagery and simply enjoy it in whatever
way it happens to strike you.
Adam Hardin is a Louisville native. Like many of his generation, he began as a song writer, mostly
laboring to combine early influences of the Beatles and Jobim with his love for blues and rock. He
started studying composition formally in 2000 at Truman State University in Kirksville, Missouri,
under Dr. Warren Gooch. One of his first compositions. Summer Night, for a capella choir, won
second place in the Missouri Music Teachers Association Competition, and he received other MM TA
awards in subsequent years. Adam entered the University of Louisville in the Fall of 2005 and
currently studies with Dr. Marc Satterwhite.
...AND IN SUCH LIES THERE IS A PRECIOUS TRUTH AARON STEPP
Being a brass player, I was not as familiar with the piano trio genre as 1 probably should have been.
Before I started composing this work, I got to know some of the trio repertory. Two of my favorite
discoveries were the Ravel Trio (at the suggestion of my teacher Dr. Satterwhite) and the Tchaikovsky
Trio. Both of these works are in the key of A minor, and my piece opens and closes with the note A.
Concurrent with the composition of this work, I was discovering living Scandinavian composers
such as Saariaho, Ruders, and Sandstrom and found many of the sounds being used b) them
incredibly expressive. This work became a fusion of my neo-classical leanings with very new pio
gressive compositional techniques.
The title was simply a phrase that was running through my mind while I composed this piece,
cannot recall where this phrase came from, and it probably is a figment of my imagination.
Aaron Stepp is an Undergraduate student of Dr. Marc Satterwhite at the University of LoiT
Aaron entered his undergraduate studies as a Trombone Performance major, however sw' c 1
Composition after he developed a love for the craft. He has been fortunate to have se\ era
perform his works on their recitals and juries as well as regular performances on studen comp
concerts. He also performs with the University Trombone Ensemble and the Historic
semble.
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Amazing Effort Crystallized Christian Gentry
Amazing Effort Crystallized comes from the text of one of the late S. Gibbons Frost's poems found
in his wife Laurie Frost's personal collection. Smith Gibbons Frost, or Gibb, as his family and
friends knew him, was a great statesman, lawyer, religious leader, father and friend. His poetry and
prose usually came from occasions of great personal importance: a wedding anniversary, funeral of
a loved one, child's birthday, or a spiritual testimony. It was the highly personal nature of this
poetry that makes it attractive and conducive to a musical setting.
The text that proceeds from this piece was cut and spliced from several poems including The Week
of Halves, An Extraordinary Bright, and With All My Heart. What takes place within the amalgam¬
ation of this text is a palpable description of man's interaction with Deity combined with the travails
of mortality and how this coexistence of the temporal and eternal are inescapable facets of life.
Special efforts were made to maintain the integrity of the meaning and personal nature of the
poems. 1 express my gratitude to Laurie and her children, specifically Joel, for allowing me to use
these texts. I recognize all the efforts that were made in securing this special text and hope that the
musical setting only perpetuates the deeply empathetic and just personality of the author.
Fountain of all my features
Amazing effort crystallized
Mine eyes
That glow and view
An extraordinary bright
Does He feel
Three hours consumed to transit here
Before the work-day's dawning?
A little food my lift the mood
Stave off my mental yawning.
How does God see it?
Is He real?
A listening ear,
A spark to work,
A touch to take away the hurt.
Or, how does He feel?
My mouth
That feeds
This body shaped
From thee—
That both utters and sings
Or, how really, is He?
My hands
That reach
And touch others
I thank you
I cherish you
What brings this weary plodding pall?
This cloud twixt pain and life?
Only the humble of heart.
For the meek shall inherit the earth.
A child in prayer,
A faithful glance,
A mother's whispering "you can!"
God does see
God does feel
God is real
Amazing effort crystallized
I hold your hand
I bless your name
Twenty-six million times again.
Does God see
1 lunch tQ day spaghetti bound?
Half-starved, half-witted and half worn
Before the sun's face could arise
1 stumbled forth this early mom
with St^RouTe andtohn'r L^ Un ^ ersit y of Louisville as a Bomhard Fellow where he studies
Alba, Italy as one of four st H T" e recen tly attended the Alba International Music Festival in
Froom and Scott Wheeler As ^ C ° m P os ® rs - While there he studied with noted composers David
n undergraduate, at the University of Utah, he was a Leroy Robertson
6
Composition Scholar twice and received an Undergraduate Research Opportunity Grant. He and
his wife, Laci enjoy acting and they perform regularly with the Louisville Murder Club. They both
enjoy Kentucky, but miss the mountains of the West.
A Raindrop in the Ocean Shaun David Crowdus
A person very dear to me once said, "... I don't belong anywhere, I don't fit in . . . (pause)
everyone fits in somewhere, everyone is accepted somewhere, somewhere they have a place where
they are home, but not me . . . (pause) . . . the world is filled with a vast multitude of people and 1
still don't have a place, I am lost in it.(long pause).I feel as if I'm just a raindrop in the
ocean."
I dedicate this piece to this person. May they receive all the warmth and love that they deserve, and
may the love and warmth that they consistently show others be returned tenfold. I own very little
and have even less to offer so I offer the only thing that I can give that encompasses everything that
I am and what I do. I offer this piece to you.
Shaun David Crowdus received his Bachelor of Music degree from East Carolina University. He is
currently pursuing a Master of Music degree in composition under the tutelage of Dr. Marc
Satterwhite.
Thanksgiving Over the Water
Chris Seal
Cry child, for what is and what is coming.
Add your salt praise to the gifted water.
Cry long, until the walls are moved to sing.
The peace, which passes all understanding.
Where is it? Can I take silence for an answer?
Cry for what is, child, and what is coming.
A wish might, but I wouldn't. Turning
from the ghost twins of grief and laughter
cry long, until the walls move, and sing.
In the book of waves the saints are drowning.
Where are their cries to the faithless pastor?
Cry, child, for what is, and is coming.
Over the stone font and sea wall: muttering.
Words like rain on slate gray water.
Cry, cry until long walls are moved to sing.
In some beyond the wind speaks. Here, nothing;
wave on wave. Time is the body's only lover.
Cry, child, for what is and what is coming.
Cry long, until the walls move and sing.
The poem Thanksgiving Over the Water is a profound artistic statement that opened my eyes to t i
beautiful effect that tears - or more generally, the ability to use sadness as a positive expression a
release of the soul - can have on one's life. If you reread Jeffrey's poem and take out the linesiUry
long, until the walls are moved to sing," it becomes an overwhelmingly pessimistic poem,
ever, add these lines back in, and the limitations on art and life that Jeffrey mentions e oiv
irrelevant to the beauty you can witness once you "move your walls." Musica y, ^ en 1 . ,
and harmonic structure of the piece is based on the sometimes sad, sometimes ore o worc j s
of a seventh. The only exceptions to this are the aforementioned lines that contain the words
"walls" and "sing," which are fittingly set with the sweet interval of the sixth.
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Writing this piece was a great way for me to cry, and I am a better person because of it. I hope that
you have recognized the sadness in your life, and that you will find an appropriate means of crying
so that your walls are broken down and you can more fully enjoy the incredible beauty of what is
right in front of your eyes. - Chris Seal, Composer
Thanksgiving Over the Water is a Villanelle, a rigorous French form. It is also the heading for the
baptismal ritual in the Book of Common Prayer. At the time I wrote the poem my two daughters
were toddlers, and it seems to me in retrospect that, in the midst of starting a career and a family, 1
was thankful for such formal elements as these to contain the often chaotic swirling of my life.
Perhaps, in the poem, I was trying to baptize my daughters with poetry ... I see now that the poem
is also a meditation on the limits of art, and free will. It is conflicted on the subject, as I was
conflicted on most matters. But in the end it is as positive as I was capable at the time - hopeful for
our children, as well as for what art tries to give to the world.
- Jeffrey Skinner, Poet and University of Louisville Professor of English
Chris Seal earned a B.A. in Physics, Magna Cum Laude, from Wake Forest University with a minor
in Psychology and a second, unofficial major in Music Composition. He has received the Univer¬
sity of Louisville Moritz von Bomhard Fellowship for vocal composition, the Wake Forest Christian
Cappelluti Prize for excellence in music, two Wake Forest Research Fellowship grants for his re¬
search on the Brazilian bossa nova, and several other notable awards. He is an active classical and
jazz guitarist. During breaks from school, he utilizes his creative energies in the Product Develop¬
ment department of BASES, a world-renowned marketing company.
Nonsense or Sorcery ?#%*! Jeremy Podgursky
In Memoriam Gyorgy Ligeti
The title of my piece is in reference to a Carlos Casteneda that deals with the idea of transformation.
Another theme of the book, as taught by the sorcerer Don Juan, is to gracefully accept life's transi¬
tions. This was especially poignant for me considering this piece revealed to me the value of transi¬
tion in music.
Musically, the different states explored in this piece range from the diffuse to the muscular (and
various terrain in between). The musical gestures that resulted from these different textures were
also influenced by the wave/particle duality of light. Lines appear laser-like at certain moments,
and then spark like fireworks the next. The serpentine melodies, drawn-out tonal centers, and
rhythmic propulsion were undoubtedly influenced by North Indian classical music. The harmonic
language consists of scales made up of modal fragments framed by the open strings of the violin
and cello. Specifically, it was the music of Gyorgy Ligeti that inspired me to create the feeling of a
constantly evolving scale (which can sound “nonsensical" at times). Vertically, these scales coagu¬
late into jazz-tinged chords by the end of the piece.
All of these influences are presented using only traditional performance technique. Some of my
iiore atmospheric pieces have required certain extended techniques to achieve their effect. I fell
aat at this early stage, it was necessary to write a solid ensemble piece that left nothing to chance.
j. odgursky is the recipient of the Grawemeyer Fellowship in music composition and is
,7 stud Ying privately with Steve Rouse and John Gibson. His piece "O Dance! O Light!
in NYC 7 S reCe 7 y piCked f ° r P erformance in *e upcoming North/South Consonance Festival
Netherlanrl S a j\ uiader 8 raduate ' J ef emy was a featured composer at festivals in both Japan and the
released a rn 1 as een an ac tive recording artist with his rock band The Pennies and has also
uncle and h ^ am ,* ent c * iamder mu sic called SUBTLE BODIES. Recently he became a proud
uncie and has always been fond of dogs.
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J RI0 ARSENAL AND THE PREMIERE COLLABORATIVE PROJECT
It is ap ,r0 P r ‘ al:e that ^ r ‘° Arsenal should be giving its first performance on a night of firsts. This
eveninj is the first concert of its nature to be included in the New Music Festival: premiere
perforri ances ofr works by UofL student composers created expressly for Trio Arsenal and this
concert
Benjarrt n Sung (Doctor of Music, Indiana University) is an active recitalist and chamber musician
on stag-'S across the world. This past summer, he gave a live recital for broadcast on the PBC television
netwob in Seoul, South Korea and performed under Pierre Boulez as a member of the Lucerne
Academy at the Lucerne Festival, Switzerland.
Hrant ’arsamian (Master of Music, Yale) is the top prize winner in International Competitions
includPg Houston Symphony, Olga Koussevitzky, HAMS, and Hudson Valley. He performs
extensi /e ly as soloist and chamber musician.
Ji-hye Chang (candidate. Doctor of Music, Indiana University) has appeared as soloist and
collabcT a tive artist in venues throughout the United States, the United Kingdom, Canada, Korea,
and Honduras. She recently gave the U. S. premiere of Unsuk Chin's Double Concerto for Piano and
Percusi on with the Indiana University New Music Ensemble.
Emily jlindrichs is a DMA student at the New England Conservatory in Boston. Recent stage credits
includt Gilda ( Rigoletto ), the Queen of the Night (The Magic Flute) and Amy in the New England
Premia of Marc Adamo's Little Women.
-Steve Rouse, Chair of the New Music Festival
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the New Music Festival presents
Faculty Artists:
New Chamber Music
Thursday, November 9 , 2006 at 8:00 p.m.
Margaret Comstock Concert Hall
PROGRAM
Chameleon
John Moore, saxophone
Michael Colgrass
(b. 1932)
Night Moves
WORLD PREMIERE
Paul York, cello
Gregory Byme, marimba
Frederick Speck
(b. 1955)
Cadenza
J. Patrick Rafferty, violin
Krzysztof Penderecki
(b. 1933)
Navzdy, Op. 12
Nav2dy
Cim je muj zal
Ruce
Daniel Weeks, tenor
Naomi Oliphant, piano
Vftezslava Kapralova
(1915-1940)
INTERMISSION
Identity Singing
Edith Davis Tidwell, soprano
Dallas Tidwell, claritiet
David George, piano
Steve Rouse
(b. 1953)
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Amentecaytl
Marc Satterwhite
(b. 1954)
Trio Bel Canto
Patrick Meighan, alto saxophone
John Moore, tenor saxophone
Krista Wallace-Boaz, piano
Quintet
Intrada
Intermezzo
Romanza
Scherzo
Finale
John Harbison
(b. 1938)
Kathleen Karr, flute
Leanna Booze, oboe
Timothy Zavadil, clarinet
Bruce Heim, horn
Matthew Karr, bassoon
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PROGRAM NOTES
Chameleon Michael Colgrass
Chameleon for solo saxophone was written as a kind of birthday card for saxophonist Ken Radnofsky's
50th birthday celebration on a concert at the New England Conservatory in 2000. The idea was to
write a piece where the saxophone seems to change character and colors unexpectedly.
At the premiere the work was about two minutes long. When John Moore said he wanted to play
the piece I was dubious about it, thinking it was not substantial enough for a concert presentation.
But when I looked at it I got an idea for developing it a bit, so this concert will be the first performance
of a slightly extended version.
Performers are my primary inspiration as a composer. John Moore's desire to play this piece might
well urge me to develop it even further. So you might say this version of Chameleon represents a
piece in progress. I would like to dedicate this performance to John as a thanks for getting me to
pay attention to it again. ■■ Michael Colgrass
Night Moves
Frederick Speck
In Night Moves for cello and marimba, line and rhythm emerge from an initial pedal tone traded
between the soloists at the beginning of the work. The pitch and rhythm palette becomes ever
wider as the music develops, until the 'cello advances an intensely lyrical expression. This strongly
melodic gesture in the 'cello is partnered with dramatic interjections in the marimba part. At times,
the marimba writing suggests an ostinato that later becomes the foundation of a rhythmic groove
that permeates the next section of the work. Throughout the work, each performer has numerous
solo opportunities, sometimes being reminiscent of quasi-cadenzas. Near the end, a somewhat
chromatic transition brings the music back to a return of the initial exposition, this time a major
third lower than the opening, suggesting both descent and arrival. The title relates to both the
character of rhythm and motion in the music, along with the beautifully "earthy" and "dark"
sounds that are possessed by each instrument. — Frederick Speck
Frederick Speck is professor of music at the University of Louisville. His music has been performed
by such ensembles as the Louisville Orchestra, the Denver Symphony and Speculum Musicae, and
recorded by such artists as Richard Stoltzman. Among recent works, Kizuna, for wind ensemble,
was the result of a commission by the World Association for Symphonic Bands and Ensembles. It
was premiered by the Senzoku Gakuen Wind Ensemble at the 2005 WASBE International Conference
in Singapore. Twice the recipient of the University of Louisville President's Award for Outstanding
Scholarship, Research and Creative Activity, his work has also been recognized the through
fellowships and commissions from such organizations as the Barlow Endowment, the National
Endowment for the Arts, the Indiana Arts Commission, and the Pennsylvania Council for the Arts.
Cadenza
Krzysztof Penderecki
Crti/cnzn was originally written for solo viola and transcribed for violin, with Penderecki's approval,
> ristiane Edinger. It is based on a descending chromatic figure, a sighing gesture found in the
, K ' a oncerto composed one year earlier. It was first performed at Penderecki's chamber music
eS 1Va in Lustawice, Poland, in September 1984. The cadenza is written without barlines or key
S ‘« and ' like most cadenzas, lends itself to rhythmical freedom and spontaneity. The form
• ' e S* nn ‘ n g quietly and increasing in intensity to a fast, virtuosic middle section, then return¬
ing to the opening slower mood. _ j. Patrick Rafferty
!r°Jd rn DeblCa ' P ° land ' in 1933, Krzysztof Penderecki has been one of the most prolific and hon-
the avaT° S T f ? twentieth and twenty-first centuries. With compositions styles ranging from
ensemblps^ 31 ^ 6 ° f ^ Neo-Romantic, Penderecki has composed for solo instruments, chamber
Art Award 3nd °P eratic genres. His awards include the UNESCO Award, theGreat
° ° rth Rhme-Westphalia, the Prix Italia (in both 1967 and 1968), the Prix Artur
12
Honegger, the Sibelius Prize, the Premio Lorenzo Magnifico, the Grawemeyer Award for Music
Composition (1992). He is the recipient of honorary doctorates from nine universities and is an
honorary member of the Royal Academy of Music in London, the Royal Academy of Music in
Dublin, the Accademia di Santa Cecelia in Rome, the Royal Academy of Music in Stockholm and
the Akademie der Kunste in Berlin. .. Carrie L. Page
Nav2dy, Op. 12
Vit£slava Kapralova
Navzdy
Divoke husy tahnou k jihu,
n&kdo odejde a zas se vrati,
n&kdo odejde a uz se nevrati.
Nevim, jeli ndkde nebe krasdjsi
nez unas unas ale vice hv£zd bys
nikde nenapoeital kdyz je noc jasna.
Divoke husy tahnou k jihu,
n&kdo odejde a uz se vrati.
Cim je muj zal
Cim je muj zal proti tvym mooim,
dm je ma bolset proti pisku tvych pousti?
Milosrdne stormy a klasy poslusne,
zvln&na rouna vod dal jsi mym snum.
Mozna, ze jednou uhasne pochodeo vrzena v blato,
netopyru kffdla vifi,
tezka hlina dn u zavaluje bijici srdce.
Cim je muj zal proti tvym mofim,
cim je ma bolset proti pisku tvych pousti?
Az jednou maves dechem sve dlane,
ach, opada listi hvizd.
Vichrice zboznosti, az k zemi
ohni obili me pychy.
Wild geese are flying south,
someone will leave, and return again,
someone will leave, and never return.
1 know not if somewhere the sky is more beautiful
than here, but nowhere could one count
more stars than here when the night is clear.
Wild geese are flying south,
someone will leave and never return.
What is my grief against your seas.
What is my pain against the sands of your desert?
Merciful trees and obedient ears of grain.
Ripples of water, you gave to my dreams.
A torch thrown in mud might possibly go out
Bats' wings swirl,
The hard clay of days overwhelms beating hearts,
What is my grief against your seas,
What is my pain against the sands of your deserts?
Perhaps someday your breath will sway the palms,
Ah! The leaves of stars will fall.
A tempest of adoration bends to the earth
The very grains of my pride.
Ruce
Pit prstu ruky me je lyra
Ticha a nesmila,
chvilieku lyru a chvilku hoeben,
vlasy ti spadly do eela.
Pit pulmisieku bilych nehtii
libal jsem zkrouseny,
zatimco hvizdy pine smoly
rudymi zhnuly plameny.
Svit pdal s nami do propasti,
my neslyseli hran,
posledni jsme pili kapky vina,
jez zbylo jesti v Kanaan.
The five fingers of my hand are a lyre
gentle and shy,
At times a lyre, at times a comb.
As your hair fell to your forehead.
The five white half-moons of fingernails
I penitently kissed,
while the resin-filled stars
Glowed with deep red flames.
The world fell with into the abyss,
We never heard the knell.
We drank the last drops of wine
That still remained in Canaan.
Vitezslava Kapralova enjoyed considerable success as a composer in her short life. She was
recognized as a leading Czechoslovakian composer with tremendous gifts. After studying com
position with her father and other prominent Czech composers, she moved to I aris where sac
studied with Martinu, Much, and Nadja Boulanger. After winning the Smetana award in 937,
her prestige as a leading Czech composer was demonstrated at the International Society o
Contemporary Music Festival in London in 1938, where she represented Czechos ova la
conducted her own music in the opening concert.
Although she composed many different types of music, Kapralova was at heart a compo
lieder. She had a gift for recognizing poetic talent as is evidenced by how o ten s noems
of Jaroslav SeiferL who went on to win the Nobel Prize in poetry in 1984. ° ne £ arek
is contained in the Opus 12 set entitled, Navtdy. The first two poems were wri
and the third by Seifert.
13
Identity Singing
I. The Bird
What did you say to me
that I had not heard.
She said she saw
a small bird.
Where was it.
In a tree.
Ah, he said, I thought
you spoke to me.
II. Intervals
Who
am I —
identity
singing.
Place a lake
on ground, water
finds a form.
Smoke
on the air
goes higher
to fade.
Sun bright,
trees dark green,
a little movement
in the leaves.
Birds singing
measure distance,
intervals between
echo silence.
Steve Rouse
III. Some Echoes
V. All the Way
Some echoes,
Dance a little.
little pieces.
don’t worry.
falling, a dust.
There’s all the way
sunlight, by
till tomorrow
the window, in
from today
the eyes. Your
and yesterday
hair as
Simple directions, direction,
you brush
to follow.
it, the light
behind
VI. Sparks Street Echo
the eyes,
Flakes falling
what is left of it.
out window make
no place, no place —
IV. Midnight
no faces, traces.
When the rain stops
wastes of whatever
and the cat drops
wanted to be —
out of the tree
to walk
was here
momently, mother,
away, when the rain stops.
was here.
when the others come home, when
the phone stops.
VII. Boat
the driD of water, the
i
Rock me, boat.
potential of a caller
Open, open.
any Sunday afternoon.
Hold me,
little cupped hand.
Let me come in,
come on
board you, sail
oft, sail off...
Identity Singing sets in a single movement seven short poems of American poet Robert White Creeley
(1926-2005). Each poem is short, and my setting flows without significant interruption, thoug
small pauses occur throughout the twelve minute work.
Creeley's poems, especially this group, have a spacious, suggestive, almost aphoristic quality that 1
often seek in song texts. These seven poems were also chosen, in part, for several word connections,
both actual and implied, among them: two obvious examples are echoes and birds.
Creeley's poems avoid the maudlin or sentimental. They are, nevertheless, deeply moving snap¬
shots of intimacy. "Some Echoes" is a fine example of this type. Other Creeley poems, such as The
Bird" and "Midnight" are humorous in a similar understated way.
Identity Singing was written for Edie and Dallas Tidwell and premiered by them on March 8, 2006
at the University of Louisville School of Music. --Steve Rouse
Winner of the 1987 Rome Prize, composer Steve Rouse holds among his awards a three-ye ar
Meet The Composer residency, a National Endowment for the Arts Composition Fellowship/
two awards from the American Academy and Institute of Arts and Letters, three Al Smith
Artist Fellowships from the Kentucky Arts Council, many ASCAP awards, and the 1999 and2005
Research and Creative Achievement Award from the University of Louisville-
14
He is included in the new millennium edition of Baker's Biographical Dictionary of Twentieth-
Century Classical Musicians, Ninth Edition (2000). Rouse's works have been performed in many
countries around the world and throughout the United States, and they have been recorded for
the Telarc, Summit, Coronet, and University of Louisville labels.
Steve Rouse received his doctorate in music composition from the University of Michigan in
1987. In 1988 he joined the faculty of the University of Louisville, where he is currently Profes¬
sor of Music Theory and Composition and Chair of the Division of Music Theory and Compo¬
sition.
Amentecaytl Marc Satterwhite
Amentecaytl is a Nahuatl (Aztec) word meaning feather painting. The Aztecs were masters of
featherwork, creating exquisite pictures and other works of art and adornment from colored feath¬
ers which were often brought from great distances. Moctezuma's magnificent headdress, in which
he went to greet Cortez for the first time, is probably the most famous example of this craft. It
contains feathers from as far as a thousand miles away from the Aztec capital of Tenochtitlan (now
Mexico City).
Most examples of this art, however, are not so spectacular, but instead are small and delicate, com¬
bining meticulous craftsmanship with a wonderful sense of color. There are a few pieces from
Colonial times, but the art seems mostly to have died out after the Conquest. Indeed, few pieces
survive at all, due the extreme fragility of the medium.
This composition is meant to reflect both the delicacy and the subtle richness of color that charac¬
terize this all but lost art. Amentecaytl was written at the request of tenor saxophonist John Moore
for Trio Bel Canto, who gave its premiere. It has subsequently been performed and recorded by a
number of different groups. -Marc Satterwhite
Marc Satterwhite's music has been performed in diverse venues all over the United States, as well
as in Europe, England, Japan, China, Australia, Latin America, and South Africa. Among the groups
that have performed and recorded his works are the Boston Symphony, the Utah Symphony, the
Louisville Orchestra, the Verdehr Trio, eighth blackbird, the Pittsburgh New Music Ensemble, the
Core Ensemble, Tales & Scales, the Chicago Chamber Musicians, the London Composers Ensemble,
Percussion Group Falsa, tubist Gene Pokorny, and clarinetist Richard Nunemaker. He has received
residencies at the MacDowell Colony, Yaddo, and the Atlantic Center for the Arts. He is a graduate
of Michigan State University and Indiana University and was for several years a professional or¬
chestral bassist before switching his emphasis to composition. He has taught in lexas, Indiana and
Michigan and is currently on the faculty of the University of Louisville School of Music where, in
addition to his teaching duties, he directs the Grawemeyer Award in Music Composition. He has a
new CD out on the Centaur Label, Witnesses of Time: Chamber Music of Marc Satteriuhite, which
includes performances by UofL faculty members Paul York, and Kathy and Matt Karr.
Quintet for Winds
John Harbison
John Harbison is one of America's leading composers. He has also been quite active as a conductor,
not only of his own works, but having a repertoire ranging from Monteverdi to oui own time. I e
has won many major awards and fulfilled important commissions in just about every genre cam
music, orchestra, band, choral, and opera. Born in Orange, New Jersey into a musical fami y> e
always had an interest in jazz and popular music, even founding a jazz band at the ten er age
twelve.
John Harbison composed his Quintet for Winds in the summer of 1978. It was commissio ‘
the Walter W. Naumburg Foundation, as a result of the Aulos Wind Quintet winning t ie c , ■
Chamber Music Award that year. In 1980, the work also won the Naumburg ecor ing
an extremely challenging work for the performers, and is considered one o e me
wind quintets in the repertoire.
15
the New Music Festival presents
University New Music Ensemble,
Cardinal Singers & Collegiate Chorale
Friday, November 10, 2006 at 8:00 p.m.
Margaret Comstock Concert Hall
PROGRAM
University New Music Ensemble
Frederick Speck, director
Primera Cronica del Descubrimiento (1988)
Penelope Quesada, flute
Kevin Shank, guitar
Roberto Sierra
(b. 1953)
Wild Riot of the Shaman's Dreams (1992)
Katie Fondrisi,/7i/fe
Michael Colgrass
(b. 1932)
Sonata (1990)
I. Fandangos y Boleros
II. Sarabande de Scriabin
III. La Toccata de Pasquini
Dawid Bonk, guitar
Leo Brouwer
(b. 1939)
Silver Chants the Litanies (2002)
Bruce Heim, horn
Katie Fondrisi, piccolo Matt Greenwood, percussion
Mimi de Guzman, flute Brad Buehring, percussion
Gretchen Reiter, oboe Christian Gentry, piano
Amber Richeson, clarinet Sarah Danyi, piano
Sharon Edmonds, clarinet Amy Isbell, harp
Dominic Rotella, horn Scott Moore, violin
Kate Reyman, horn Joe Ortiguera, violin
Todd Obidowski, piccolo trumpet James Dersch, viola
Michael Swope, trumpet Kimberley Berger, cello
Augusta Read Thomas
(b. 1964)
INTERMISSION
University Collegiate Chorale
Kent Hatteberg, director
Angelus Domini
Pawel Lukascewski
(b. 1968)
Tota pulchra es (2001)
16
Ola Gjeilo
(b. 1978)
Verbum supernum prodiens (1997)
Damijan Mocnik
(b. 1967)
Wiigen-Lied from Wie ein Kind (1979-1980)
Amanda Bryant and Christopher Shortt, soloists
Per Norgard
(b. 1932)
Old Churches (Band Version 2000, Choral Version 2006)
Michael Colgrass
(b. 1932
Kmloh (arr. 2003)
Amanda Bryant, soloist
Huifang Chen, student conductor
Tsai Yu-shan
(b. 1967)
Women of the University Cardinal Singers
Ave Maria (1996)
William Hawley
(b. 1950)
Jaakobin pojat (1976)
Pekka Kostiainen
(b. 1944)
Sednalo e Djore Dos (1977)
Amanda Bryant and Erin Keesy, soloists
Stefan Mutafchiev
(1942-1995)
Lauliku lapsepd (1966)
Amy Parker Cuenca, Emily Malone, Emily Neubauer, soloists
Veljo Tormis
(b. 1930)
Hoj, Hura, Hoj! from Lasske heleckacky (1967)
Hilary Hilliard, Alexis Paxton, Amy Parker Cuenca, soloists
Omar Macha
(b. 1922)
University Cardinal Singers
El Amor y la Locura (2004)
Alejandro Yagiie
(b. 1947)
Loriak Udan (2004)
David Azurza
(b. 1968)
Litene (1993)
Litene I
Peteris Vasks
(b. 1946)
Lahto (1975)
17
Einojuhani Rautavaara
(b. 1928)
PROGRAM NOTES
Primera Cronica del Descubrimiento Roberto Sierra
Commissioned by Benjamin Verdery and Rie Schmidt, Primera Cronica del Descubrimiento is Sierra's
musical representation of the meeting of the indigenous Indians of the Caribbean island with the
Spanish Conquistadors. In this work, the first of a series of musical chronicles, the composer imag¬
ined the "surprise and bewilderment from both sides." According to Sierra, "In these two pieces
Leyenda Taina (Taino Leyend-being the name of the tribe that inhabited the Island of Puerto Rico)
and Danza, I put in musical thought my own interpretation of some of the things that might have
occurred 500 years ago."
Roberto Sierra studied at the Conservatory of Music and the University of Puerto Rico, the Royal
Conservatory of Music in London and at the Hochschule fur Music in Hamburg where his teacher
was Gyorgy Ligeti. His music is praised for both its craft and emotional expression. Recent com¬
missions include: Concerto for Orchestra for the Philadelphia Orchestra, Concerto for Saxophones and
Orchestra by the Detroit Symphony, Fandangos and Missa Latina for the National Symphony and
Bongo, commissioned by the Julliard School in celebration of the 100 th anniversary.
Wild Riot of the Shaman's Dreams
Michael Colgrass
Wild Riot of the Shaman's Dreams for solo flute was inspired by a chapter in Farley Mowat's book
People of the Deer, about a crazed Inuit shaman named Kakumee who lived in the Arctic barrens
north of Manitoba. Thelnuit are a gentle people, full of humor and good will, so I was particularly
interested in Kakumee, who was devious, paranoid and violent. Mowat describes Kakumee as a
frightening creature with eyes like "tiny black marbles" that "glistened out from their crevices as
the black eyes of great spiders shine form their shadowed caves under rocks." What a character to
profile in music!
But is the flute the best instrument to express and Arctic monster? We know the flute can sing like
a bird, but rarely do we get a chance to hear it pant, growl, cry and mutter and I saw this piece as an
opportunity to exploit some of the lesser known characteristics of this normally genteel instrument.
If a demented shaman was the subject matter for this piece, the brilliant flutist, Marina Piccinini,
was the musical inspiration. Her playing demonstrates unusual intensity and power as well as lyric
beauty, and I sought an idea that might fit these diverse characteristics. Together Ms. Piccinini and
I poured over the various effects in this work until it seemed to have the right balance of madness
and poignancy that we both felt expressed the lost soul of Kakumee.
Wdd Riot of the Shaman's Dreams is respectfully dedicated to Marina Piccinini.
-- Michael Colgrass
Sonata
Leo Brouwer
Composer/guitarist, Leo Brouwer, has had a tremendous influence on the repertoire for his
^' s mus ’ c ' s informed by Afro-Cuban, jazz and eclectic contemporary influences. Largely
se -taught as a composer, he has explored the rhythmic vitality of his Cuban roots, abstract gestures
^ e .. ' suc influences as Penderecki, Baird and Bussotti, and more recently, a return to a
generally romantic aesthetic.
de Scriabin as VN . r ' t ^ n for J L1 ^ an Bream. Its three movements are: Fandangos y Boleros, Sarabandc
Mr. Bonkcurrpnil 3 ° ccata e Pasquini. Tonight's performance will feature soloist Dawid Bonk
Poland. Y S ieS classical g uitar at the Karol Szymanowski Academy of Music in Katowice
18
Silver Chants the Litanies Augusta Read Thomas
Silver Chants the Litanies, in memoriam Luciano Berio, for solo French Horn and chamber orches¬
tra was composed in 2002 and premiered in 2003 by the Meadows Wind Ensemble, at Southern
Methodist University, conducted by Jack Delaney.
To be a composer is a calling, not a profession. By some strange, unknown, inward urgency I am
not really alive unless I am creating. My favorite moment in any piece of music is the moment of
maximum risk and striving. Whether the venture is tiny or large, loud or soft, fragile or strong,
passionate, erratic, ordinary or eccentric...! Maybe another way to say this is the moment of exquis¬
ite humanity and raw soul. All art that I cherish has an element of love and recklessness and des¬
peration. I like music that is alive and jumps off the page and out of the instrument as if something
big is at stake.
Music's eternal quality is its capacity for change, transformation and renewal. With music by Luciano
Berio as one model, my music tries to invent continuities- not to rupture and break from the past -
and attempts to do so without being cliche, nostalgic or sappy. It is my goal to compose music that
remembers and knows the repertoire but also pushes forward in its own voice. For instance, my
music remembers what the flute meant to Debussy, what a major third has been in a universe of
melodic and harmonic languages, what bells meant in past cultures, remembering forms and tex¬
tures, remembering processes of narration and drama. It remembers colors, and impulses, and the
risk of early Stravinsky, and the counterpoint of Bach, and the melodies of Mahler songs, and the
inflection of Ella, and the invention of Coltrane, etc.
To compose a French Horn Concerto is extremely difficult. It is one of the most beautiful instru¬
ments and it is tremendously hard to play well. (I played trumpet for 13 years, so I have a particular
sensitivity about, and love for, the Horn.) I tried to make a composition, which contains many
contrasting sections, and which features many "colors and moods" of the instrument. The work
lasts a brief 13-minutes and there are at least six contrasting sections. The materials evolve, trans¬
form, and shift characters from bold to majestic, to playful, to ritualistic, to elegant, to gentle, to
resonant and echoing, and so forth. The soloist is very much present through out all these orches¬
tral conversions and is always the leading light.
I would like to express my gratitude to the musicians who are playing this work tonight, and above
all to Bruce Heim and Dr. Frederick Speck. -- Augusta Read Thomas
Augusta Read Thomas is Composer-in-Residence with the Chicago Symphony Orchestra (1997-
2006). After teaching at Northwestern University where Thomas was the Wyatt Professor of Music,
she has recenty resigned that position to devote her undistracted time to composition. She studied
at Northwestern University, Yale University and at the Royal Academy of Music. The world s lead¬
ing conductors, including Daniel Barenboim, Christoph Eschenbach, Esa-Pekka Salonen, Mstislav
Rostropovich, Pierre Boulez, Seiji Ozawa, Hans Vonk, Gerard Schwarz, Hannu Lintu, Oliver Knussen,
Marin Alsop, David Robertson, Ludovic Morlot, Leonard Slatkin, Dennis Russell Davies, Sir An¬
drew Davis, Hugh Wolff, Cliff Colnot, Norman Scribner, John Nelson, Apo Hsu, Jahja Ling, Keith
Lockhart, Lawrence Leighton Smith, George Manahan, Jac Van Steen, Gianpiero Taverna, David
Gilbert, Bradley Lubman, Grant Llewellyn, and David Loebel have led her works. International
performances scheduled for this season include concerts at Helsinki's Music Nova Festival and the
French premiere of Ceremonial with the Orchestra National of Bordeaux Acquitania, conducted y
Hannu Lintu.
19
Angelus Domini
Angelus Domini nuntiavit Mariae
et concepit de Spiritu Sancto.
Ave Maria.
Ecce ancilla Domini,
fiat mihi secundum verbum tuum.
Sancta Maria.
Et verbum caro factum est,
et habitavit in nobis.
Gloria Patri, et Filio,
et Spiritui Sancto.
Sicut erat in principio,
et nunc, et semper,
et in saecula saeculorum. Amen.
PAWEL tUKASZEWSKI
The Angel of the Lord declared unto Mary,
and she conceived of the Holy Ghost.
Hail Mary.
Behold the handmaid of the Lord,
be it done unto me according to Thy word.
Holy Mary.
And the word was made flesh,
and dwelt among us.
Glory be to the Father, and to the Son,
and to the Holy Spirit.
As it was in the beginning,
is now, and ever shall be,
world without end. Amen.
Polish composer Pawel Lukaszewski graduated summa cum laude from the State Lyceum of Mu¬
sic in 1987. He continued his musical education at the F. Chopin Academy of Music in Warsaw,
where he studied cello with Prof. A. Wrobla and composition with Prof. M. Borkowski. His post¬
graduate studies include choirmaster courses at the Bydgoszcz Music Academy (1996). He is the
winner of several scholarships, such as the Czenstochowa Municipality Scholarship in 1991-2, Prof.
B. Suchodolski Foundation Endowment in 1995, and two scholarships from ZAiKS and from the
Foundation for Art Promotion by the Polish Ministry of Culture and Art in 1996.
In 1992-3 Mr. Lukaszewski took over the secretary position at the Youth Section of the Polish
Composers' Union. Since 1992 he has been the chair of the Society for Lovers of Sacred Music, and
since 1995 has served as secretary of the "Contemporary Music workshop." His music has been
performed in France, Germany ("Unerhorte Musik" festival in Berlin), Italy, the Vatican, Belgium,
Monaco, Canada (V New Music Festival in Edmonton), and Poland (Sacred Music festival "Gaude
Mater" in Czestochowa, Young Composers' Forum in Krakow, "Music in Old Krakow" festival,
Contemporary Music Workshop in Bialystok, "Choral Music Meetings" in Gliwice, "Jeunesses
musicales" in Kielce, "Warsaw Musical Meetings," "Legnica cantat," and R. Bukowski Music Days
in Wroclav).
Tota pulchra es
Ola Gjeilo
Tota pulchra es Maria,
et macula originalis non est in te.
Maria.
Vestimentum tuum candidum quasi nix,
et facies tua sicut sol.
Maria.
Tu gloria Jerusalem,
tu laetitia Israel, Maria,
tu honorificentia populi nostri, Maria.
Thou art all fair, O Mary,
and the stain of original sin is not in thee.
Mary.
Your vestments are as white as snow,
and your face is like the sun.
Mary.
Thou art the glory of Jerusalem,
the joy of Israel, Mary,
and the honor of our people, Mary.
Ola Gjeilo's music has been performed in the United States, Canada, the UK, South Africa, Norway,
weden, Denmark, Finland, Germany, Hungary, France, and Belgium. His publishers include Walton
Music (US), Oxford University Press (UK), and Musikk-Huset (Norway). He has been commis-
sioned by Philip Brunelle, Ensemble Mendelssohn, Arielle Rodgers, Uranienborg Vokalensemble,
ors ir esangforbund, Akademiska Damkoren Lyran, Con Amore, and has written a song cycle,
New En S land Songs , for American soprano Barbara Bonney.
degree in m" ^ ^ 9^ 3 curren tly lives in New York, where he is completing a Master's
the Royal ColW S1 f 6 J ui ^ iarc ^ School. He studied at the Norwegian Academy of Music and
popular musir • US1 ^' 3 com P oser an d pianist, he has experience with classical, jazz, and
language. S eX ^ onn § m iddle ground between these genres within his own musical
20
Gjeilo is a recipient of the Gretchaninoff Memorial Prize and was a winner of the 2005 Juilliard
Composers' Orchestral Work Competition. The winning piece. The Identity Triad, was performed
by the Juilliard Orchestra in New York's Alice Tully Hall. In 2006 his song If thou must love me won
the Diana Barnhart American Song Competition. Hathon Real Estate (Oslo) has been Mr. Gjeilo's
sponsor since 2001.
Verbum Superno Prodiens
Verbum supernum prodiens
a patre olim exiens
qui natus orbi subveni
cursu declivi temporis.
Damijan Mo£nik
High Word of God, eternal Light
begotten of the Father's might,
who cam'st a Child, the world to aid,
as years their downward course displayed.
Ilumina nuc pectora
et tuo amore
concerma audito et praeconia
sint pulsa tandem lubrica.
Our hearts enlighten from above,
and kindle with thine own true love;
that, dead to earthly things, we may
be filled with heavenly things today.
Laus, honor, virtus,
gloria Dei Patri et Filio
Sancto simul paraclito
in sempiterna saecula.
Amen.
Praise to the Father and the Son,
and Holy Spirit, three in one,
and to the holy Paraclete
be praised with them and worship meet.
Amen.
Damijan Mocnik was born in Kranj and currently lives in Cerklje na Gorenjskem, a small town of
Slovenia. He finished his composition studies at music academy in Ljubljana (class of professor
Dane Skerl) in 1991 and, while studying won a Preseren award for composition.
Mr. Mocnik works in a Diocesan classical gymnasium in Ljubljana as a choral conductor and artis¬
tic leader of music activities. As a choral conductor he has won many awards in national and inter¬
national choral competitions. As a composer he won second prize at the first
Kompositionswettbewerbes 1995 des Internationalen Chorleiterverbandes in Bochum (Germany),
was a competition winner for a hymn at the occasion of the Pope's visit in Slovenia, and won the
first and second prize at the Composition competition at the 50 lh anniversary of the Slovenian
choral review "Nasi zbori."
Two motets ( Verbum supernum prodiens and Christus est natus) were performed by the World Youth
Choir 1999 under the direction of Gary Graden and were issued on CD by Carus. His compositions
are published by Carus (Stuttgart), Astrum (Slovenia), and Ferrimontana (Frankfurt) and are per¬
formed throughout the world, including Japan and the United States, by many excellent choirs and
vocal groups. Carus Verlag issued the CD Verbum supernum prodiens featuring Mocniks sacred
compositions in December 2003.
Mocnik's musical language is inspired textually and is founded on his rhythmic and melodic impulses.
In his melodies one can perceive a distant hint of Plain Chant and of archetypal sound i eas, even
those from folk music. The melodic narrative in a firm structured frame mostly deve ops in o a
varied polyphonic, polytonal, and polychordal structure.
21
Per N0rgard
Wiigen-Lied from Wie e in Kind
G'ganggali ging g'gang, g'gung g'ung!
Giigara-Lina Wiiy Rosina.
G'ganggali ging g'ang, g'gung g'gung!
Rittara-Gritta, d'Zittara witta.
G'ganggali ging g'ang, g'gung g'gung!
Giigaralina, siig R a Fina.
G'ganggali ging g'ang, g'gung g'gung!
Fung z'Jung, chung d'Stung.
Adolph Wolfli
"Sorgen rammer alle, ingen slipper, "Sorrow seizes all, no one goes free,
I flaeng slar sorgen os ned." Sorrow seizes all at will."
(Ole Sarvig, fragment from "Siddharta") (translation: James Manley)
Per Norgard, born in Copenhagen, is one of the central Danish composers of the Twentieth Cen¬
tury after Carl Nielsen and Jean Sibelius. His output of more than three hundred works includes
opera, symphonies, concertos and ballets as well as film, chamber, and electronic music.
Around 1980 Norgard radically changed course toward a spontaneously composed, dramatic, 'schiz¬
oid' style inspired by the Swiss 'mad artist' Adolph Wolfli (1864-1930) in a number of choral works,
beginning with Wie ein Kind. Of Wie ein Kind Norgard wrote in 1980:
In this work I want to juxtapose two poetic idioms, one originating in the schizophrenic Adolf Wolfli's
tormented soul, the other in a highly respected and famous poet, Rainer Maria Rilke. The first move¬
ment, Cradle Song ( Wiigen-Lied , in Wolfli's typical spelling) has many psychological aspects, and it is
interrupted by among other things a strange faraway calling that recalls the cries of a street trader or
a mother calling from a window high up in a tenement to her child down through the narrow shaft of
a backyard.
Old Churches Michael Colgrass
Old Churches is a choral version of a work I wrote originally for middle school band. Then it oc¬
curred to me that it would probably work well for voices, since Gregorian chant was the original
inspiration for the piece. As well as singing, the performers play suspended kitchen bowls repre¬
senting a kind of distant church chimes. They also improvise arpeggiated instrumental sounds with
their voices, something I call a "murmuring effect," which represents the sounds of monks' voices
echoing softly in hallways of old cathedrals. I encourage an unconventional set-up of the singers on
stage in keeping with the theatrical nature of the music. -- Michael Colgrass
Kmloh
arr. Tsai Yu-shan
Kmloh ta kwara riyax soniy,
Memaw mta lah trakis ru paqay,
Yutas yaki mzimu kwara,
Lhbaw skutaw nha uzy.
It is the harvest festival today.
Look! Millets and rice plants are all ripe now.
Grandfathers and grandmothers are very happy.
A sense of relief fills the air.
Memaw mngilis mita knloh,
Memaw mtazil kwara Tayal,
Mpanga knloh kwara Tayal,
Myugi pinwagi kwara Tayal.
Memaw ini ngilis Ciwas yu Watan,
Memaw mzimu uzy yaya ru yaba,
Mama ru yata memaw myabux,
anga hekil ru basaw uzy.
Looking at the fruits of their harvest
They weep with happy tears
With the harvest on their backs
All Tayal people dance to their excitement.
Ciwas and Watan the couple weeps no more.
Fathers and mothers are extremely happy.
Joyfully on their backs.
They carry the harvested millet and rice.
22
Taiwanese arranger Tsai Yu-shan graduated from the Peabody Institute of Music with her bachelor's
and master's degrees in Piano Pedagogy. In 1985 she won first prize in the concerto competition at
Interlochen Arts Academy. She received a scholarship for piano performance at the St. Louis Con¬
servatory of Music. Since returning to Taiwan in 1995, she teaches at several schools, accompanies
the Formosa Singers, and is an active arranger of Taiwanese folk songs. Her arrangements have
given the folk songs new life and a renewed popularity among Taiwan's younger generation.
This song is sung during the annual Harvest Festival of the Tayal Tribe. Songs of the indigenous
people in Taiwan are usually melodies hummed by the adults as a spontaneous expression of their
labor or happiness, and this song is no exception. During the harvest, the tribal people have forgot¬
ten their past toil and composed their joy into a song. Tsai Yu-shan arranged this song into a choral
piece in 2003.
Tayal, also known as the Atayal, is a tribe of Taiwanese aborigines. One of the Tayal tribe's main
agricultural products is millet. In July and August, Tayal holds rites to thank the spirits of their
ancestors for protection and care following the harvest. The tribal songs originate as an expression
of hardship working in the fields and articulate the joy when harvest overflows.
The tribe of Tayal has one important instrument which other tribes do not have: the indigenous
harmonica. At the beginning of this piece, the men singing lois-iois are making the sound of the
indigenous harmonica. The whole piece mentions many times hohayyan and heyyo, which repre¬
sent the spirit of the indigenous people as a whole. There are more than 12 indigenous tribes in
Taiwan but they only consist of two percent of the entire population. Since the indigenous music
has always been handed down through oral traditions, many valuable pieces have been lost. In
recent years, attempts to recover and collect traditional music have slowly begun, but still not
much indigenous music has been formally written into a cappella scores. This song is one of the
few that has been arranged recently. I hope to share the traditional music of Taiwan's indigenous
people in this special occasion. — Huifang Chen
Ave Maria William Hawley
Ave Maria, gratia plena:
Dominus tecum,
benedicta tu in mulieribus,
et benedictus fructus ventris tui, Jesus.
Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae. Amen.
Hail Mary, full of grace:
the Lord is with thee;
blessed art thou among women,
and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God,
pray for us sinners,
now and in the hour of our death. Amen.
William Hawley's works have been heard in London, Tokyo, Paris, the Netherlands, Berlin,
Darmstadt, Munich, Los Angeles, San Francisco, Seattle, Minneapolis, and other cities in the United
States, Europe, and Asia, as well as in the concert halls of New York, where he makes his home with
his wife, Jyoti.
Hawley studied at the Ithaca College School of Music and the California Institute of the Arts, where
he received his BFA in 1974 and his MFA in 1976. Beginning his creative life primarily as an instru¬
mental composer, he gradually found his work assuming a deeper expression in the r ^a m 0 voca
music. He has received numerous commissions and has composed works premiere y
cleer, the New London Singers, the Alexandria Choral Society, and the Vocal Arts nsem
Cincinnati. Flos ut Rosa Floruit , premiered at the 2005 Florilege Vocal de Tours by the Umversi y
Utah Singers, won the prize for a First Production Work.
Ave Maria was commissioned by the Saint Mary's College Womens Choir in Notre D
ana (Dr. Nancy Menk, conductor).
23
Jaakobin pojat Pekka Kostiainen
Ruuben, Simeon, Leevi, Juuda, Ruben, Simeon, Levi, Judah,
Daan, Naftal, Gaad, Asser, Isaskar, Sebulon, Dan, Naphtali, Gad, Asher, Issachar, Zebulun,
Joosef ja Benjamin. Joseph and Benjamin.
Jaakobin poikia. Jacob's sons.
Finnish composer Pekka Kostiainen studied at the Sibelius Academy, qualifying as a church musi¬
cian in 1968 and receiving his composition diploma as a student of Jouko Tolonen in 1973. He was
cantor-organist of Pohja Finnish Church 1969-71 and has been lecturer in music at the University
of Jyvaskyla since 1971. In 1977 he founded the Musica choir at the University and has been its
leader ever since. He has also led the Vox Aurea children's choir since 1994. Kostiainen is a Doctor
of the Jyvaskyla University (2004).
Kostiainen has received numerous awards and honors, including the Arts Prize of Central Finland
(1979), the Kalevala scholarship from the Kordelin Foundation (1984), a cultural grant from the
Mitt-Norden kommitten (1989), the Klemetti Prize of the Finnish Amateur Musicians' Association
(Sulasol) (1990), and the AGEC Composition Prize (Die Goldene Stimmgabel), (1995). He has been
a working member of the Kalevala Society since 1988.
Kostiainen's sense of musical humor is evident in the treatment of the text in Jaakobin pojat (Jacob's
Sons), which runs through the list of the sons' names in Sprechgesang, whispers, glissandos, ex¬
tremely high or low sounds of indefinite pitch, and exploitation of the spatial dimension.
(Notes about Jaakobin pojat from Kimmo Korhonen (1998), translated by Susan Sinisalo)
Sednalo e Djore Dos
Stephan Mutafchiev
Sednalo e Djore dos,
Sednalo e Djore!
Ti, ludo Djore dos,
ti mi ludo Djore!
Vwnka na vartitsi dos,
vwnka na vartitsi
Sharen chorap plete dos,
sharen chorap plete
Yotdol ide devoyche,
ta na Djore veli:
"Shto rabotish tuke dos,
shto rabotish tuke?''
[Speech] "Sharen chorap pleta dos,
sharen chorap pleta."
"Komu che go dadesh dos,
komu che go dadesh?"
"Koyto mene zeme dos,
koyto mene zeme,
nemu che go yodam."
[Parlando]:... (Nonsense)
"Ya chu tebe zema dos,
ya chu tebe zema."
"Tebe che go yodam dos,
tebe che go yodam!" Giore!!
George is sitting, eh!
George is sitting!
You my silly George, eh!
You my silly George!
Out in front of the house, eh,
out in front of the house
he knits a motley sock, eh,
he knits a motley sock.
A maiden comes down there
and says to George:
"What are you doing here, eh?
What are you doing?"
[Speech] "I knit a motley sock, eh,
I knit a motley sock."
"To whom are you giving it, eh?
To whom are you giving it?"
"Whoever takes [marries] me, eh,
whoever takes me,
to her will I give it."
[Parlando] . . . (Nonsense)
"I will take you, eh,
I will take you."
"Then I will give it to you, eh,
I will give it to you!" Giore!!
corn P| ete ^ musical studies at the State Academy of Music in Sofia in mus
his B rarw nd u S ° Studied composition with Veselin Stoianov and Parashkev Hadjiev. Soon a
Sone and n-m e ^ as ^PP°| nte d music director of the newly established Trakia Ensemble for F
folk instruments a d^f n • 6 tau S dt at die Musical Academy in Plovdiv, where he specializec
Bulgarian National ° k ~ Sin § in § Q He was the principal director of the Ensemble for Folk Sonj
S nan National Radio from 1983 until his premature death in 1995.
24
Stefan Mutafchiev was active in many diverse aspects of musical life. He is best known, however,
as an arranger of Bulgarian folk songs and dances, for which he received numerous awards, includ¬
ing one from Radio Bratislava.
Lauliku Lapsepoli
Veljo Tormis
Kui ma ol'li vaikokono, al'leaa,
kas'vi ma sis kaunikono, al'leaa,
ol'li ute iiii vannu, al'leaa,
paale kato paava vannu,
ima vei kiigu kesii paale,
pan'de hallii palo paale,
pan'de par'dsi halliitamma,
suvolinnu liigutamma.
Par'dsil ol'le pal'lo sonnu
suvolinnul liia' laalu'
part'ts saal man mul pal'lo lauli
suvSlindu liiast konoli.
Saalt mina lat's sis laulu' ope
ul'likono sona' osasi,
koik mina pan'ni paporihe,
koik mina raio raamatuhe.
Selle minol pal'lo sonnu,
selle laajalt laaluviisi.
When I was very little, al'leaa,
I grew so prettily, al'leaaa,
I was but one night old, al'leaa,
just two days old,
mother took my cradle to the meadow,
put my crib on the heath,
put a duck to rock the cradle,
the bird of summer to push me.
The duck had many words,
the bird of summer had lots of songs,
the duck sang many songs to me there,
the bird of summer, it spoke to me a lot.
That is where this child learned the songs,
this crazy one [got to] know the words,
all of them I placed on paper,
all of them I hewed into a book.
That is why I have so many words,
that is why I have lots of tunes.
(Translation provided by Dr. Harri Miirk(PhD, Finno-Ugric Studies, Indiana University)
Veljo Tormis was born in Kuusalu, near the capital of Tallinn. He studied organ, choral conducting,
and composition in Tallinn before receiving a degree in composition from the Moscow Conserva¬
tory. Tormis was influenced initially by outstanding compsers of the preceding generation (Tubin,
Saar, and Kreek) who used folk melodies as material for thematic development in the traditional
classical compositional style. His compositional epiphany occurred with the composing of Esto¬
nian Calendar Songs, when, as Tormis says, he "attempted to preserve the authenticity of the source
material - the ancient Estonian [regilaul] song - in choral settings, avoiding any arrangements or
harmonizations after European canons." Tormis supports the original regilaul in text, tune, and
structure while fusing it with a late 20 th century musical framing. As he has stated on a number of
occasions, "I don't use folksong; folksong uses me." By using the hallmarks of Estonian culture -
the language and the regilaul - as his compositional materials, Tormis carries forward the country s
ancient traditions into the next millennium.
Originally composed in 1966, Lauliku lapsepoli became part of a larger five-song set in 1971 entitled
Laulud laulust ja laulikust/Songs of Singing and the Songster. In the midst of Soviet occupation and
suppression of Estonian cultural expression, Tormis created this set and dedicated each movement
to a folklorist colleague who, during this period, supported his emphasis of legilaul- based compo
sition. Lauliju lapseppoli is dedicated to folklorist Ottilie Koiva, one of the compilers of the Anl io
ogy of Estonian Traditional Music, which was one of the country s earliest collections of its nationa
regilaul.
(Note by Dr. Marian E. Dolan)
Hoj, Hura, Hoj! from La$ske heleckacky
Omar Macha
Hoj, hura hoj! Hura hoj!
Chasa zas kravictky vyhana,
kravare zdestiny volava
Hura hoj! Hura hoj!
O, mountain, O! O, mountain!
The shepherds are bringing the cows out to
the pasture, and from the meadow are yelling.
O, mountain, O! O, mountain!
25
Babulenky moje, paste se
vy vkole ad odzvoria klekani,
pujdu ja domu svami.
Pujdu za kopecky,
paste se ovedky
pujdu ja kMarusce,
svoji galanacce.
Hoj, hura hoj! Hura hoj!
Chasa zas kravicky vyhana,
kravare zddstiny volava:
Hura hoj! Hura hoj!
My cows, graze yourselves;
you in the circle (e.e. dancing girls), when the
evening bells peal. I'll go to you.
go beyond the hills,
sheep, graze.
I'll go to see Marushka, (nickname for Mary)
My girlfriend.
O, mountain, O! O, mountain!
The shepherds are bringing the cows out to
the pasture, and from the meadow are yelling:
O, mountain, O! O, mountain!
Hoj, Hura, Hoj! is a folksong arrangement by Otmar Macha, who was born near the area in the
Czech Republic from which the folk poetry of Hoj, hura, hoj! originates. Hoj, hura, hoj! is from
Lasske heleckacky, a song cycle of mountain songs for SSAA which received awards in the Jubilee
Competition for the 50th anniversary of the October Revolution (1967) and in the Jihlava Interna¬
tional Choral Competition (1973). The Moravian folk poetry dialect in Hoj, hura, hoj! is from the
Beskyde Mountains and Valassko region which is the natural border between Moravia and Slovakia,
where shepherding cattle and sheep has been a normal occupation for young fellows and girls. In
this song, the fellows enjoy the sensation of calling out across the mountains and anticipate the
enjoyment of beihg with their girl friends in the villages after their work is done.
El amor y la Locura
Alejandro Yague
El Amor y la Locura.
Habiendo la Locura con el Amor renido,
dejo ciego de un golpe al miserable nifio.
Venus, mas jeon que gritos!
Venganza pide al cielo
Era madre y esposa:
con esto queda dicho.
Querellase a los dioses,
presentando a su hijo:
"iDe que sirven las flechas,
de que el arco a Cupido,
faltandole la vista
para asestar sus tiros?
Quitensele las alas
y aquel ardiente cirio,
si a su luz ser no pueden
sus vuelos dirigidos."
Atendiendo a que el ciego
Siguiese su ejercicio,
y a que la delincuente
tuviese se castigo,
Jupiter, presidente
de la asamblea, dijo:
Love and Madness.
Madness, having fought with Love,
struck blind the miserable child.
Venus pleads to the sky
for vengeance, with such cries!
She was mother and a wife:
nothing more need be said.
She challenged the gods,
presenting her son:
"What use are arrows,
what use Cupid's bow,
if he cannot see
to aim his shots?
Take his wings away
and also his burning candle
if to its light his flights
cannot be directed."
Ensuring that the blind child
continued his labors,
and that the wrongdoer
received his just punishment,
Jupiter, president
of the assembly, said:
"Ordeno a la Locura,
desde este instante mismo,
que eternamente sea
de Amore el lazarillo."
(based on a poem of Felix Maria Sameniego)
"I order Madness,
from this moment forth,
to eternally be
Love's guide."
26
Alejardro Yague was born in Palacios de la Sierra, Spain in 1947. His musical studies included
the Conservatory of Madrid (1972-6), the Academy of Saint Cecilia in Rome (1976-8) and the
University of Cologne (1978-82). He holds degrees in composition, orchestral conducting and
piano. His compositions have won numerous prizes, including the Prix de Rome in 1976 Since
1988 Yague has worked as Professor of Composition at the University of Salamanca.
Yague's El Amor y la Locum was the compulsory work for the 38 th Tolosa Choral Contest in the
category of Mixed Choirs: Polyphony.
Loriak Udan
Loriak udan ihintza bezela
maitedet dama gazte bat,
hari hainbeste nahi diyotanik
ez da munduban beste bat.
David Azurza
As summer dew on flowers
I love a young girl,
there is none in the world
no other whom I love so much.
Inoiz ado behin pasatzen badet
ikusi jabe aste bat,
biyot 2 guztira banatutzen zait
halako gauza triste bat.
Nerebetiko pentsamenduba,
nere kontsolagarriya,
zu gabetanik ezin bizi naiz,
esaten dizut egiya.
Zu bczinake arbola eta
ni badin banintz txoriya,
nik zu zinaken arbol hartantxen
egingo nuke kabiya
If sometimes I spend
a week without seeing her
throughout my heart
spreads a sad thing.
My eternal thought,
my relief,
I cannot live without you
I tell you the truth.
If you were a tree
and I a bird,
I would make a nest on that tree
that you are.
Bilintx (1831-1876)
David Azurza was born in 1968 in Tolosa, Spain. He began as a choral singer in 1983 in the Hodeierlz
Choir of Tolosa. Azurza later studied voice with Isabel Alvarez as a countertenor and received the
title Profesor de Canto (Professor of Voice) at the Conservatory Teresa Berganza in Madrid. He
currently works as a countertenor, choral director, and professor of voice and composition. Azurza's
compositional output centers on choral music, especially music for youth choirs. His works have
won numerous awards, including special prizes at the International Choir Competition in Tolosa,
Spain in 1993, 1998, and 2000. He is sought-after as an adjudicator and speaker at choral and vocal
conferences worldwide.
Loriak Udan takes its text from two verses of the Basque poem "Izazu nitzaz kupira" by Bilintx
(1831-1876). Azurza sets the text to the flowing and sensual rhythms of the habanera. Loriak Udan
was the compulsory work for the 38 th Tolosa Choral Contest in the category of Mixed Choirs:
Folklore.
LlTENE I
Peteris Vasks
Ko zemesvezis caka
Ko slieka klusu raka
Caks izelpoja delna
Un iedvasoja laka
Tie nepateiktie vardi
Nak ausT, dun ka aka
What the mole-cricket chirrs about
What the earthworm digs up quietly
Caks breathed into his palm
and into lacquer
Those unsaid words come into my ear,
droning like in a well
27
O, Litene! O, mele! Oh, Litene! You liar!
O, nodevlba traka Oh, the horrible treachery!
UIdis Berzins
Peteris Vasks was born in Aizpute, Latvia. He attended the Riga Music Academy and the Lithuanian
Music Academy in Vilnius where he studied double-bass with Vitautas Sereika. From 1973 to 1978
he studied composition with Valenzius Utkin at the Latvian Academy of Music in Riga. From 1963
to 1974 Vasks was a member of various symphony and chamber orchestras.
In 1996 Vasks was appointed "Main Composer" of the Stockholm Festival of New Music. In 1998
he was awarded the Latvian Music Prize for his Violin Concerto "Distant Light." Since 1994 he has
been an honorary member of the Latvian Academy of Sciences. In 2001 he was offered member¬
ship in the Royal Swedish Academy of Music founded by King Gustav III in Stockholm in 1771.
He currently lives in Riga as a freelance composer.
The ballad Litene for twelve-part chorus was composed in 1993. Litene is the name of a little village
in a densely wooded region of Latvia; at the time of national independence, there was a summer
camp of the Latvian army in Litene.
Litene became a known symbol in the summer of 1941, the "year of terror" of the Soviet occupa¬
tion. For it was Litene where most Latvian officers were arrested. Part of them were shot on the
spot, the others were deported to Siberia where nearly all of them died.
The ballad consists of two parts, the first being static, the second being active and aggressive. This
composition is based on aleatory music and other special musical means which I thought suitable
to tell about the never-healing wounds of my people. — Peteris Vasks
Lahto
Einojuhani Rautavaara
Jonakin aamuna, jonakin kevataamuna
auringon kohotessa taivaalle
nousen ratsuni selkaan.
Ruumiini nukkuu,
henkeni ei kuule askeleitani eika
hevoseni kavioitten riemuitsevaa
tominaa.
Ratsun selkaan nousee
ahdistettu, piinattu,
tuhat kertaa rangaistu,
mutta murtumaton,
ikuisesti elava.
Mina yksin tiedan taman aamun
salaisuuden.
Minun kutsuani yksin
hevosene tottelee.
Mina yksin naen lunastuksen tien.
Siis ylpeaan juoksuun,
uskoni kultainen ratsu.
Vain hetken kumisevat
kaviot kattojen y 11a.
Olen jo kaukana, vapautettu.
Toivo Pekkcmen
One morning, one spring morning,
the sun rising into the sky,
I mount my steed.
My body sleeps, my spirit hears not my
my step
nor the jubilant clatter of my horse's
hooves.
Mounting the horse is an anguished,
tormented soul,
a thousand times punished
yet invincible,
immortal.
I alone know the secret this morning
holds,
mine alone is the command
the horse obeys.
I alone see the path to redemption.
Gallop with pride, then,
golden steed of my faith!
For a mere moment will these hooves be
heard over the rooftops.
Soon I am far off, and free.
28
Finnish composer Einojuhani Rautavaara was born in Helsinki in 1928. He studied composition at
the Sibelid 3 Academy in Helsinki and musicology at the University of Helsinki. He received a
Sibelius grant from the Koussevitzky Foundation to come to the United States, where he studied
compositicn at the Juilliard School of Music with Vincent Persichetti and at the Tanglewood Music
Center, where he studied with Roger Sessions and Aaron Copland.
RautavaarJ taught at the Sibelius Academy from 1957 to 1959, and again from 1966 to 1990. He
has been a member of the Swedish Royal Academy of Music since 1975. His composition awards
include, afiong others, the Camden Composition Contest in London in 1966 (String Quartet No.
3), the Sibeli us Violin Competition composition competition in 1970 ( Dithyrambos) and again in
1975 (Variitude), the Finlandia National Opera composition competition in 1971 (Kiusaukset; Temp¬
tations), afld the Scandinavian choral competition composition in 1975 (Hammarskjold Fragment).
His numerous recording awards include a Grammy Nomination in 1997 for his Symphony No. 7,
(Angel of tight) and a Gramophone nomination in 1998.
Ldhto (Departure) was composed in 1975 as a compulsory test for choral competitions. Over an
ostinato irtended to portray the clatter of horses hooves, brilliant chords, mostly in parallel motion,
signal the release and freedom found in riding the golden steed of Toivo Pekkanen's poem.
(Curriculum vita provided by Fennica Gehrman)
29
University Collegiate Chorale
Kent E. Hatteberg, director
Justin T. Romney & Hui-Fang Chen, graduate assistants
Soprano I
Amanda Tarryn Bryant
Hui-Fang Chen *
Hilary Hilliard
Cassie Lyles
Kelly Welding
Kelli White
Ellen Whittaker
Soprano II
Kelly Ballou
Libby Ford
Lyn Hall
Alane Hart
Erin Keesy
Rianne F. Marcum
Claire Mosley
Jenifer Thomas
* graduate student
t section leader
Alto I
A. Nicole Alexander
Kristyn Brown
Amanda Harless
Hyun Jung Ji*
Sarah Powell
Emily Sepulveda
Amanda K. Walker
Myco Tran Wulkopf
Alto II
Alisia Epps
Shareika L. Fisher
Mary Beth Harris +
Emily J. Neubauer
Paula Rada
Carlisle Schoner
Kate Sureck
Tenor I
Bill Coleman
Joshua Hein
Kevin Sproul
Walter Jay Wollmann
Tenor II
Rob Carlson
Josh Hamilton
Adam Hardin *
Seung Yong Shin *
Bass I
Phillip Morgan
Benjamin Powell *+
Christopher Shortt
Justin Wilkey
Bass II
Evan Blum
Jay Coughlon
Austin H. Echols, Jr.
R. Andrew Fowler
Ben Riley
Barrett Smith
Adam Yankowy
University Cardinal Singers
Kent E. Hatteberg, director
Soprano I
Amanda Tarryn Bryant
Hui-Fang Chen
Hilary Hilliard
Alexis Paxton
Soprano II
Kelly Ballou
Alane Hart
Amy Parker Cuenca
Erin Keesy
Alto I
Kristin Hale
Amanda Harless
Emily Malone
Hyun Jung Ji
Alto II
Mary Beth Harris
Emily J. Neubauer
Carlisle Schoner
Tamara Stewart
Tenor I
Bill Coleman
Joshua Hein
Kevin Sproul
Walter Jay Wollman
Tenor II
Rob Carlson
Josh Hamilton
William Thomas Mills II
Seung Yong Shin
Bass I
James R. Cooper
Peter A. Lovett
Phillip Morgan
Benjamin Powell
Christopher Shortt
Bass II
Austin H. Echols, Jr.
Brett McDermid
Ben Riley
Barrett Smith
30
the New Music Festival presents
University Symphony Orchestra and Wind Ensemble
Saturday, November 11, 2006 at 8:00 p.m.
Margaret Comstock Concert Hall
PROGRAM
University Symphony Orchestra
Kimcherie Lloyd, director
Gambado Fanfare (2006)
WORLD PREMIERE
Nicholas Alexander Drake
(b. 1978)
Apokalypsis: The Throne Room (2006)
WORLD PREMIERE
R. Scott Adams
(b. 1979)
Double Concerto (Chamber Concerto No. 3) (2005)
I. Vivo
n. Espressivo, non troppo lento
01. Presto
WORLD PREMIERE
Kathy Karr, flute and alto flute
Matthew Karr, bassoon
As Quiet As (1965-1966)
A Leaf Turning Colors
An Uninhabited Creek
An Ant Walking
Children Sleeping
Time Passing
A Soft Rainfall
The First Star Coming Out
Marc Satlerwhite
(b. 1954)
Michael Colgrass
(b. 1932)
INTERMISSION
University Wind Ensemble
Frederick Speck, director
L'ai (2004)
Bright Sheng
(b.1955)
Urban Requiem (1995)
Kevin Arbogast, soprano saxophone
Jon Rohner, alto saxophone
Matt Reidinger, tenor saxophone
Daniel Reams, baritonesaxophone
Michael Colgrass
(b. 1932)
31
PROGRAM NOTES
Gambado Fanfare Nicholas Alexander Drake
Composed in the Spring of 2006, Gambado Fanfare is a brief piece for orchestra. The title refers to
both the rhythmically playful, gamboling aspects of the piece while moments of fanfare declamation
and march-like sections are still a strong feature. The harmonic material is based on the juxtaposition
of two major triads. E-flat Major and A Major. The various rhythmic interactions between these two
chords propels the intentionally limited harmonic palette. Borrowing an equestrian term, gambado
refers to a fantastic leap of a horse in which all four hooves are in the air. It can also refer to similarly
athletic dance steps. — Nick Drake
A native of Louisville, Nick Drake began his musical studies on the piano before switching his
emphasis to composition as an undergraduate. He earned a B.A. in philosophy from Centre College
in 2001 where he studied composition with Larry Bitensky. Mr. Drake is currently pursuing the
Master of Music degree in music composition at the University of Louisville where he has studied
with Marc Satterwhite and Paul Brink.
Apokalypsis: The Throne Room
R. Scott Adams
The Book of Revelation (Apokalypsis in the original Greek) is a collection of the Apostle John's dreams
and visions concerning the last days. It is one of the most controversial books in the Bible due to its
subject matter and the often confusing nature of the visions. Many have attempted to decipher the
meanings of the scenes; however, it seems that much of the wonder of these images is often lost in
the wake of their various interpretations. In light of the controversy, it is my interest to strip away
the weighty interpretations and attempt to take a fresh look at the images themselves, at once
beautiful, terrible, majestic, and awe-inspiring.
This piece is the first installment in a series, or cycle, of works based upon the different images
found throughout the Book of Revelation. The source text comes from the fourth chapter. At this
point in the narration, the writer is swept up into Heaven where he enters a glorious throne room,
the likes of which he has never seen before.
Because the scene is described somewhat sporadically, in a series of more or less unrelated observa¬
tions, I have decided to move a few of the lines in order to attempt to make the descriptions flow in
what I believe to be a more linear (and musical) fashion. For the most part, I have tried to capture
the general atmosphere of each passage instead of depicting the individual lines. The sections of
text could be roughly divided and titled as follows:
Introduction
After this I looked, and there before me was a door standing open in heaven. And the voice I had first heard
speaking to me like a trumpet said, 'Come up here, and I will show you what must take place after this.' At
once I was in the Spirit..."
Around the throne
...and there before me was a throne in heaven with someone sitting on it. And the one who sat there had the
appearance of jasper and carnelian. A rainbow, resembling an emerald, encircled the throne. Surrounding the
throne were twenty-four other thrones, and seated on them were twenty-four elders. They were dressed in
white and had crowns of gold on their heads."
Also before the throne there was what looked like a sea of glass, clear as crystal."
Segue
From the throne came Bashes of lightning, rumblings and peals of thunder. Before the throne, seven lamps
were blazing. These are the seven spirits of God."
Glorification bv the Fe asts and lh P plrWc
back Thp nu OUndthe tkrone ' were f° ur living creatures, and they were covered with eyes, in front and in
fourth was lik^Tn § - Creatu [ e ™ as llke a lion ' the second was like an ox, the third had a face like a man, the
ymg eagle. Each of the four living creatures had six wings and was covered with eyes all
32
around, even under his wings. Day and night they never stop saying: 'Holy, holy, holy is the Lord God
Almighty, who was, and is, and is to come.' Whenever the living creatures give glory, honor and thanks to him
who sits on the throne and who lives for ever and ever, the twenty-four elders fall down before him who sits
on the throne, and worship him who lives for ever and ever. They lay their crowns before the throne and say:
'You are worthy, our Lord and God,
to receive glory and honor and power,
for you created all things,
and by your will they were created
and have their being.'"
(Texts quoted from the New International Version of the Bible, published by Zondervan Press)
-- R. Scott Adams
R. Scott Adams is a young composer still in the early stages of his professional career. He recently
received his Master of Music from the University of Louisville, studying under Marc Satterwhile.
Before that, he received his Bachelor of Arts in Music Composition/Arranging from Asbury Col¬
lege, studying under Ronald Holz. Scott currently resides in the Dallas, Texas area, where works on
various commissions and sings with the professional chamber choir, The Texas Voices. Other pro¬
jected premieres include Toccata for two violas (commissioned by Alisson Reber and Monica Clarke)
and Broken Angels (written for pianists Mary Ann Wilder and Adrienne Fontenot).
Double Concerto Marc Satterwhite
I first met Kathy and Matt Karr, and admired their playing, when we all used to play in a summer
music festival in Mexico City. The festival was a great chance for young musicians to get to know
each other, both on- and off-stage (the less said about those parties at Murcia 10 the better, perhaps).
As the classical music world is indeed a small one, the three of us ended up in Louisville, they
playing in the Louisville Orchestra and teaching at the University of Louisville, and me teaching
composition and theory at UofL. They were among the first people in Louisville to ask me to write
a piece for them. I composed my Concertino a Tre for flute, bassoon and piano for them, which
they subsequently performed and recorded. In exchange Matt used his woodworking skills to
build a hutch for our house. Some years later I had the idea of writing a double concerto for them,
which resulted in this piece.
The concerto is fairly conventional in structure, with two fast, not-too-serious movements framing
a more lyric and dramatic slow movement. Although clearly a concerto, the orchestra does much
more than just accompany in many passages, and I have tried to use the colors available in this
combination (percussion, harp, keyboard [piano and celeste] and strings) to maximum advantage.
This Double Concerto is dedicated with admiration and friendship to the Karrs.
— Marc Satterwhite
As Quiet As
Michael Colgrass
As Quiet As was inspired by the answers of fourth-grade children asked by their teacher to com
plete the sentence beginning "Let's be as quiet as . . ." From the twenty-one answers complied by
Constance Fauci and printed in The New York Times in December, 1961, I chose seven that seemed
to make a nature study as might be perceived by a child. My purpose was to depict the very nature
of each metaphor, as if I were demonstrating to a blind person the essence of a leaf as it changes color,
of a creek abandoned even by birds, and of an ant - or many ants - skittering about.
Children Sleeping and Time Passing are like a dream sequence. Following light breathing and heart
beats, a sonatina, written by Beethoven as a child, appears through a montage of sleeping soun s,
- Haydn, Sibelius, Ravel, Stravinsky, Count Basie - as if one were taking a fleeting g^eatmu
history moving through time. The jazz is interrupted by a distant sound ( .) w ic
dream and the last setting (Webern) is in post-war style.
33
A Soft Rainfall and The First Star Coming Out are the spring and summer counterparts of the au¬
tumnal leaf and creek, and are related musically as well. The creek is now a rainfall, and the leaf a
soft blanket of night across which stars flicker like a million raindrops turned to crystal.
— Michael Colgrass
L'ai Bright Sheng
La'i is a form of Tibetan love song. It is most popular in eastern Tibet where I lived for seven years
in my teens. I watched men and women approach each other singing La'i while herding, working
the fields or, especially, in festival settings. If things went well, they would exchange memorabilia
and set a new date to meet again. The character of the music is lyrical, slow in a free tempo with
quick moving throaty grace-notes decorating an overall simple melody. The decoration forms a
special relation to the melody, a unique feature of La'i.
When I first heard the singing, I was struck by the beauty and overtly Romantic feeling, as well as
by the natural unruly wild emotion the music generated. This work is loosely based on the impres¬
sion of the La'i singing. -- Bright Sheng
As a youngster, Bright Sheng began piano studies with his mother. Following the Cultural Revolution,
he moved to New York (1982) where he received his MA and DMA. His most influential teachers
include: Leonard Bernstein (composition and conducting), George Perle, Hugo Weisgall, Chou Wen-
Chung, and Jack Beeson. Sheng is currently a member of the composition faculty at the University
of Michigan, where he now serves as Leonard Bernstein Distinguished University Professor of Music.
Cross-cultural sensibilities pervade his music in strong and passionate ways. It is knitted together in
the tradition of Western classical music, voiced in the syntax of the late 20th-century, and expressed
with the directness of the folk music of China and the Silk Road region. Current performances of
his new works include: Fantasies for Violin and Piano, commissioned by the Library of Congress
and La Jolla Chamber Music Festival for violinist Cho-Liang Lin, Wild Swan for the New West
Symphony, and a new ballet. Heart Full of Sorrow, for the New York City Ballet.
Urban Requiem Michael Colgrass
Urban Requiem for four saxophones (soprano, alto, tenor and baritone) and wind orchestra melds
the expressions of both the "tour de force" virtuosity expected of the saxophone with subtleties and
tenderness of the most intimate chamber music. The composer offers the following commentary
about the work:
Uiban Requiem might be described as an urban tale, inspired by a diversity of random impressions.
I thought of our urban areas, where the saxophone was spawned, and of the tragedies and
stiu ggl es that occur in this environment daily. But I was also inspired by the energy and power of
our cities, and the humor inherent in their conflicts. I feel that the saxophone is particularly well
suited to express the variety of emotions required for this idea, because it can be not only highly
personal and poignant in character but also powerful and commanding. It can howl like a ban¬
shee or purr like a kitten. In short, the saxophone is perhaps more like the human voice than any
other instrument. In my mind I heard four saxophones singing like a vocal quartet, a music that
was liturgical in nature but with a bluesy overtone, a kind of "after hours" requiem.
The w ork is scored for triple winds, brass, harp, synthesizer, timpani and four percussionists. The
so o saxophonists are somewhat physically separated from one another via the stage set up, while
c e in neighborhoods within the larger wind ensemble. As the piece unfolds, the soloists
j p. , 0l: . t0 °y ie anot: ^ er / ar >d also with principal players of the ensemble, engaging in virtuosic
ethnic musicaf en^ t ' meS ' ^ m P rov ^ sa ^ on is part of the fabric as well, eliciting the flavor of jazz or
and fhe
ui iviicum
34
First Violin
University Symphony Orchestra
Kimcherie Lloyd, director
Joe Ortiguera, graduate assistant
Alexandra Ostroff, graduate assistant
Charlie Blanton & Mihai Spin, manager
Cello
Gerome Stewart t
Marlene Ballena f
Juan Carlos Ortega
Molly Goforth
Scott Moore
Kimberly Burger
Alexandra Ostroff
Clayton Vaughn
MihaiSpin
Erin Cassel
Leslie Heinzen
Charlie Patton
Gabrielle Boguslaw
Nicole Boguslaw
Anna Dolan
Katie Schladand
Jordan Lynern
Audrey Bowlds
Alex Peterson
Fred Speck
Jedediah Cowart
Second Violin
Bass
Nick Wooldridge
JoeOrtiguera
Elizabeth Adams
Cordia Thompkins
Chris Korenkiewicz
Arezou Etemad
Lauren Taylor
Franzeli Sharp
Charlie Blanton
Nathan Chapman
Felice Howard
Elizabeth Wooldridge
Grantjacobs
Ashley Wolf
Alice Markiewicz
Lia Ramirez
Emily Caudill
Piccolo
Heather Norwood
Jessica Prus
Viola
James DerschJ;
Beth Alexander
Flute
Monica Clarke
Katie Fondrisi
Scott Farley
Demilou DeGuzman
Felicia Hogan
Beth Alexander
AlissonReber
Sarah Speck
Oboe
Abby Laswell
Gretchen Reiter
HannahTuri
Mary Beth Mann
Alison Simpson
Josianne Parent
Britney Whelan
Whitney Grubb
Clarinet
Dominic Young
Chris Phillips
Daniel Crawley
Sharon Edmunds
t concertmaster
t principal
Carolyn Frazio
Adam Thomas
* guest
**faculty
Bassoon
Erica Jones*
Carrie Baxter*
TBA
Horn
Karla Neal
Dominic Rotella
Kate Reyman
Lindsay Pummell
NikkiSmith
Miranda Polzer
Trumpet
Ryan Nottingham
Michael Swope
Don Johnson
Charles Calloway
Trombone
Sarah Finger
"Rusty" Crimm
Bass Trombone
Daniel Stuhl
Tuba
Aaron Gaither
Alex Dansby
Timpani
MattGreenwood
Percussion
B rad Buehring
MattGreenwood
Regan Heckscher
Rodney Younger
Harp
Amy Isbell*
Piano/Celeste
Sarah Danyi
35
University Wind Ensemble
Frederick Speck, director
Piccolos
Katie Fondrisi
New Albany, IN
Beth Alexander
Harned
Flutes
Katie Fondrisit*
New Albany, IN
Mimi deGuzman
Radcliff
Beth Alexander*
Harned
Oboes/Enclish Horn
Gretchen Reitert
Crescent Springs
Andy Buchholz
Cleveland Heights, OH
Mary Beth Mann
Elizabethtown
Clarinets/Aux. Clarinets
Chris Phillipst
Milford, OH
Amber Richeson
Owensboro
Sharon Edmonds*
Louisville
Carolyn Fassio
Pendleton
Adam Thomas
Henderson
Michelle Linder
Cincinnati, OH
Robert Acosta
Edgewood
Mary Rada
Louisville
Amanda Wright
Alexandria
Bass Clarinets
Brad Baumgardnert
Nashville, TN
Carolyn Fassio
Pendleton
Bassoons
Ashley Hendersont
Louisville
Jay Coughlant
Paducah
Alto Saxophones
Kevin Arbogastt
Bowling Green
Jon Rohner*
Jonesboro, AR
Tenor Saxophone
Matt Reidinger
Floyds Knobs, IN
Baritone Saxophone
Daniel Reams
Cecilia
* graduate student
+ principal
t assisting performer
Horns
Dominic Rotellat
Kate Reyman
Lindsay Pummell
Leah Simer
Miranda Polzer
Louisville
Decatur, IL
Franklin, OH
Centralia, IL
Montreal, Canada
Trumpets
Ryan Nottinghamt
Charles Calloway
Michael Swope*
Don Johnson
Zack Schell
Todd Obidowski*
John Bryant*
Louisville
Cleveland, GA
Connersville, IN
Raywick
Louisville
Butler, PA
Fairview, NC
Trombones
Audrey Davist
Sarah Finger
Krista Eifler
Brent Crimm
Louisville
Anderson, IN
Newburgh, IN
Pewee Valley
Euphoniums
Daniel Stullt
Matt Byrum
Payneville
Louisville
Tubas
Aaron Gaither!
Alex Dansby t
Mat Murphy
Louisville
Radcliff
Columbus, OH
Percussion
Matt Greenwoodt
Brad Buehring*
Regan Hecksher
Rodney Younger
Erin Haehl
Floyds Knobs, IN
Louisville
Avon, IN
Indianapolis, IN
Speed, IN
Double Basses
Charlie Blantont
Lauren Taylor
Louisville
Louisville
Harp
Amy Isbell t
Louisville
Keyborad
Sarah Danyi*
Oregon, OH
36
Upcoming New Music Events at the School of M usir.
(All events are admission free and held in Margaret Comstock Concert Hall,
unless otherwise noted. Events are subject to change.)
Wpdnesdav. November 15 - 8:00 p.m.
University Student Composers. World premieres by the young composers of today
and tomorrow.
Monday. February 5 - 8:00 p.m.
University Composers. Student and Faculty Composers present new electronic works,
showcasing the school’s new state-of the art electronic music facilities in Malcolm Bird Recital
Hall.
Tuesday, February 13 - 8:00 p.m.
University Student Composers
Thursday, March 8. 2007
University of Louisville School of Music celebrates 75 years of igniting innovation
and embracing tradition with a special concert in Carnegie Hall honoring the Grawemeyer
Awards in Music Composition. The Concert will feature works by Grawemeyer-winning
composers and the winner of the 2007 Grawemeyer Award will be announced.
Friday. March 23 - 8:00 p.m.
University Student Composers
Monday, March 29 - 8:00 p.m.
University New Music Ensemble
Wednesday. April 4 - 8:00 p.m.
University Composers present electronic music in Malcolm Bird Recital Hall.
Friday, April 20 - 3:00 p.m.
Grawemeyer Lecture: The winner of the 2007 Grawemeyer Award in Music Composi¬
tion will deliver a lecture.
U of L Music Concert Line
PH: 502-852-0524
music.louisville.edu
To receive occasional e-mail notices of new music events at UofL, please send an e mail to
newmusic@louisville.edu with the word subscribe in the subject me.
School of
music
INIVERSITi'qf LOUISVILLE
dare to be great
Thursday, November 9, 2006 Convocation
3:00 p.m.
Margaret Comstock Concert Hall
Guest Composer: Michael Colgrass
Michael Colgrass (b. 1932) began his musical career in Chicago
where his first professional experiences were as a jazz drummer
(1944-49). He graduated from the University of Illinois in 1954 with
a degree in performance and composition and his studies included
training with Darius Milhaud at the Aspen Festival and Lukas Foss
at Tanglewood. He served two years as timpanist in the Seventh
Army Symphony Orchestra in Stuttgart, Germany and then spent
eleven years supporting his composing as a free-lance percussionist
in New York City where his wide-ranging performance venues
included such varied groups as the New York Philharmonic, The
Met, Dizzy Gillespie, the Modem Jazz Quartet, the original West
Side Story orchestra on Broadway, the Columbia Recording
Orchestra's Stravinsky Conducts Stravinsky series, and numerous
ballet, opera and jazz ensembles. He organized the percussion
sections for Gunther Schuller's recordings and concerts, as well as
for premieres of new works by John Cage, Elliott Carter, Edgard
Varese, and many others. During this New York period he continued
to study composition with Wallingford Riegger (1958) and Ben
Weber (1958-60).
Colgrass has received commissions from the New York
Philharmonic and The Boston Symphony (twice), as well as the
orchestras of Minnesota, Detroit, San Francisco, St.Louis, Pittsburgh,
Washington, Toronto (twice), the National Arts Centre Orchestra
(twice). The Canadian Broadcast Corporation, The Lincoln Center
Chamber Music Society, the Manhattan and Muir String Quartets,
The Brighton Festival in England, The Fromm and Ford
Foundations, The Corporation for Public Broadcasting, and
numerous other orchestras, chamber groups, choral groups and
soloists.
He won the 1978 Pulitzer Prize for Music for Dejh vu, which
was commissioned and premiered by the New York Philharmonic.
In addition, he received an Emmy Award in 1982 for a PBS
documentary "Soundings: The Music of Michael Colgrass." He has
been awarded two Guggenheim Fellowships, A Rockefeller Grant,
First Prize in the Barlow and Sudler International Wind Ensemble
Competitions, and the 1988 Jules Leger Prize for Chamber Music.
Among recent works are Ghosts of Pangea (2000) for orchestra,
commissioned by the University of Miami in Oxford, Ohio, for their
millennium celebration. Dream Dancer (2001) for alto saxophone and
wind orchestra, commissioned by the World-Wide Concurrent
Premieres & Commissioning Fund, Inc. for 25 wind ensembles, and
Crossworlds (2002) for flute, piano and orchestra commissioned by
the Boston Symphony Orchestra and premiered with soloists
Marina Piccinini and Andreas Heafliger. In 2003 he conducted the
premiere of his new chamber orchestra version of the Bach-Goldberg
Variations with members of the Toronto Symphony Orchestra.
Recently, he devised a system of teaching music creativity
to children which he has taught to middle and high school music
teachers who have used his techniques to teach children to write
and perform new music of their own. His articles on these activities
have appeared in the Music Educators Journal (September 2004) and
Adultita, an Italian education magazine. He has also written a
number of works for children to perform.
As an author, Colgrass wrote My Lessons With Kumi, a
narrative/exercise book, outlining his techniques for performance
and creativity. He also gives workshops throughout the world on
the psychology and technique of performance.
He lives in Toronto and makes his living internationally as
a composer. His wife, Ulla, is a journalist and editor who writes
about music and the arts, and his son Neal is an editor, journalist
and screenwriter.
For more information see: www.michaelcolgrass.com.
•i'v&tmusic
IMVERSIlYof LOUISVILLE
--
dare to be great
presents
Faculty Trio Recital
Michael Tunnell, trumpet
Brett Shuster, trombone
Meme Tunnell, piano
Sunday Evening
November 12, 2006
7:30 P.M.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Three Sonatas from Horn Decima (1670) Johann Christoph Pezel
Sonata No. 22 (1639-1694)
Sonata No. 25
Sonata No. 69
Concerto in F Georg Phillipp Telemann
Largo-Allegro (1681-1767)
Siciliana
Allegro
Three Studies (2001)
Fanfare; Canon
Glittering
Lighthearted, fleet
Orianna Webb
(b. 1974)
INTERMISSION
Pastorale
Eric Ewazen
(b. 1954)
Decaloop (1984)
Paul Steinberg
(b. 1946)
Side Partners
Herbert L. Clarke
(1867-1945)
Duetto Buffo di Due Gatti
Giacchino Rossini
(1792-1868)
BIOGRAPHIES
Michael Tunnell has been Professor of Trumpet at the University of Louisville
School of Music since 1988 where he performs with Louisville Brass and conducts
the Trumpet Ensemble. The University of Louisville awarded Tunnell the
Distinguished Teaching Award in 2003. Tunnell performs as Principal Trumpet
and Principal Como da Cacda with the Louisville Bach Society and as Auxiliary
Trumpet with the Louisville Orchestra. A founding member of the brass quintet
Sonus Brass, Tunnell has toured the Far East and South America with this group
and as a soloist. He also is a founding member of the Derby City Brass Band.
In addition, he is featured on the Mark Records CD Sonus Brass Captured and the
Centaur CD Louisville Brass: Season to Dance as well as five solo recordings: Mixed
Doubles, Melancholia, and Lumen, on the Coronet label, and Passages and The
Morning Trumpet on the Centaur label. He can also be heard on the Sinfonia da
Camera of Illinois recording of the Saint-Saens Septet and on numerous
Louisville Orchestra First Edition recordings. Tunnell is a former member of the
music faculties of the University of Southern Mississippi, SUNY-Potsdam
College, the University of Illinois and the New England Music Camp. Tunnell is
a member of the International Trumpet Guild Board of Directors, and he served
as an editor for the ITG Journal from 1978-2000. In the summer of 1999 Tunnell
was a featured artist at Lieksa Brass Week in Lieksa, Finland, and in July, 2001
he was a Visiting Professor at the Catholic University of Chile in Santiago. He
serves on the Artist Faculty of the National Trumpet Competition and is an
artist-clinician for Kanstul Trumpets. Tunnell's degrees are from the University
of Tennessee (Bachelor of Music, 1976), The University of Louisville (Master of
Music, 1978), and the University of Southern Mississippi (Doctor of Musical Arts,
1982). His teachers include Leon Rapier, Allan Cox, Arnold Jacobs, Adolph
Herseth and Armando Ghitalla. His students hold positions in prominent
colleges and orchestras, and they have enjoyed great success in numerous solo
competitions both in the United States and in Europe.
Grammy winner Brett Schuster is the Trombone Professor at the University of
Louisville. Professor Shuster's educational background includes a B.M. from
the New England Conservatory of Music, an M.M. from Northwestern
University, and a D.M.A. from Arizona State University. His performance
experience includes two years with the internationally acclaimed Chestnut
Brass Company, and hundreds of performances with the Louisville Orchestra,
San Diego Symphony, Phoenix Symphony, Vermont Symphony, Arizona Opera,
and Boston Philharmonic. As soloist Shuster has performed internationally
with both orchestras and wind ensembles. In 2005 he performed (on alto,
tenor and bass trombone) the first complete performance of Norman Bolter's
Of Mountains, Lakes and Trees with the Orquestra Sinfonica da USC in Caxias
do Sul, Brazil. Professor Shuster has recorded on the Centaur, Polygram,
Newport Classics, Albany, Warner, and Summit labels. Shuster will be releasing
his first solo recording on the Centaur label in 2007.
Meme Tunnell is Instructor of Piano and Music Theory at Bellarmine University
in Louisville, Kentucky, where she also serves as Staff Accompanist and Director
of Preparatory Music. She maintains a private piano studio and is active as a
chamber musician, adjudicator, and clinician, and performs regularly with
numerous solo artists throughout the United States. Tunnell has performed as
adjunct keyboardist with the Louisvile Orchestra since 1988, and (over)
formerly was principal keyboardist for the Meridian Symphony, Gulf Coast
Symphony, and Champaign-Urbana Symphony Orchestras, and the Sinfonia
da Camera of Illinois. Tunnell's recording credits include the Coronet Records
CDs Melancholia, Lumen, and the Centaur Records Passages with trumpeter
Michael Tunnell, Mixed Doubles with Michael Tunnell and tubist Fritz Kaenzig,
both on the Coronet label, and Chamber Music, featuring saxophonist Joseph
Lulloff, on the Veriatza label. Tunnell was President of the Greater Louisville
Music Teachers Association for the 1996-98 term and also served a term as
Kentucky Music Teachers Association Piano Chair. She is a former member of
the piano faculties at the University of Southern Mississippi and SUNY-Potsdam
College.
The Hattie Bishop Speed Endowed Recital Series Presents
Simone Dinnerstein, Piano
Sunday, November 12, 2006
Comstock Hall
University of Louisville School of Music
Piano Variations
French Suite #5 in G Major
Allemande
Courante
Sarabande
Gavotte
Bouree
Lou re
Gigue
Copland
(1900-1990)
J. S. Bach
(1685-1750)
Intermission
Kinderscenen Op. 68 (Scenes from Childhood) Schumann
(1810-1856)
Von fremden Landern und Menschen (About stange lands and people)
Kuriose Geschichte (Curious story)
Haschen Mann (Blindman’s buff)
Bittendes Kind (Pleading child)
Gluckes genug (Perfectly contented)
Wichtige Begebenheit (Important event)
Traumerei (Reverie)
Am Kamin (At the fireside)
Ritter vom Steckenpferd (The knight of the rocking horse)
Fast zu Ernst (Almost too serious)
Furchenmachen (Frightening)
Kind in Einschlummern (Child falling asleep)
Der Dichter spricht (Th poet speaks)
Sonata #32 in c minor, Op. 111 Beethoven
Maestoso-Allegro con brio ed appassionato (1770-1827)
Arietta. Adagio molto semplice e cantabile
COLUMBIA ARTISTS MANAGEMENT LLC
Personal Direction: R. DOUGLAS SHELDON/TANJA DORN
1790 Broadway, New York, NY 10019
SIMONE DINNERSTEIN
Piano
American pianist Simone Dinnerstein is a charismatic and commanding performer of both solo and chamber
music repertoire noted for her warm and varied tone and for her unusual and compelling interpretatioins. After her
triumphant New York recital debut at Carnegie Hall’s Weill Recital Hall in November 2005, The New York
Times described her interpretation of Bach’s Goldberg Variations as “a thoughtfully conceived, thoroughly
modem performance that seemed to take into account the development of Western art music since Bach ... an
individual, compelling performance that so completely evoked the image of a journey, that Schubert’s Winterreise
kept coming in mind.” Harris Goldsmith wrote in a feature article in the American Record Review that it was “a
thrilling roller coaster ride with many wonderful surprises in store... her harmonic intensity left an indelible
impression on this mesmerized listener.”
Ms. Dinnerstein recorded the Goldberg Variations with Grammy-award winning producer Adam Abeshouse;
recording sessions that became the subject of an article by David Patrick Steams in The Philadelphia Inquirer.
She received The Classical Recording Foundation Award for 2006, returning to Carnegie Hall’s Weill Recital
Hall to perform in conjunction with her acceptance of the award in October 2006.
Ms. Dinnerstein has performed extensively throughout the United States, including recitals at New York City’s
92nd Street Y, and concerto and chamber music performances at Carnegie Hall, Lincoln Center, the National
Gallery of Art in Washington, DC, the Mann Center in Philadelphia, Bard Music Festival, the La Jolla Music
Society, Boston’s Isabella Stewart Gardner Museum, Princeton’s Richardson Auditorium, and the Beethoven
Society in Washington, DC. She has also performed abroad in Germany, South America, and Britain, appearingal
London’s Purcell Room and Queen Elizabeth Hall at South Bank Centre, and in Oxford and Cambridge.
As a winner of the Astral Artistic Services National Auditions, Ms. Dinnerstein appeared as both concerto soloist
and in recital at Philadelphia’s Kimmel Center for the Performing Arts, after which The Philadelphia Inquirer
noted her “gorgeous blend of power and finesse.” She was featured on the Kimmel Center’s Fresh Ink series,
performing works by George Crumb and Gerald Levinson, and in a live performance of Crumb’s Variations on
Round Midnight on WNYC’s New Sounds. For two summers, Ms. Dinnerstein was selected as one of the few
pianists invited to be a fellow at the Tanglewood Music Center.
Future performance highlights of Ms. Dinnerstein include her debut at The Metropolitan Museum of Art;
performances with the American Symphony Orchestra under Leon Botstein (Liszt, Concerto No. 1 and
Totentanz ), South Carolina Philharmonic (Brahms, Concerto No.l), and Delaware Symphony Orchestra
(Beethoven, Concerto No. 3) the Wurttembergische Kammerorchester Heilbronn (Beethoven, Concerto No. 4)
She will also appear at the Bach Festival in Philadelphia in March 2007. Ms. Dinnerstein will open the
Moselfestwochen in Germany in July 2007 and will play at the opening gala concert of the “Metropolitan
Museum of Art in Berlin” exhibition. She has also been invited to open the 2007-08 concert season of the
Jerusalem Symphony Orchestra under Leon Botstein. Ms. Dinnerstein will make her London recital debut at the
Wigmore Hall in fall 2007 and is invited to give her recital debut at the Berlin Philharmonic in the 07/08 season.
Her discography includes the Complete Beethoven Sonatas for Piano and Cello with cellist Simca Heled
(CLASSCD 344-5), works for cello and piano by Mendelssohn-Bartholdy (CLASSCD 389), and a recording of
Bach s Goldberg Variations, to be released next year. In addition Delos International will release a 2 volume set
of Beethoven s complete works for piano and cello. The first volume will be released in October 2006 and the
second volume will follow in spring 2007.
Ms. Dinnerstein is a graduate of The Juilliard School where she was a student of Peter Serkin. Among her many
scholarships and awards at Juilliard were the William Petschek Piano Scholarship, the Vladimir Horowitz
c o ars ip an e Chopin Award. She also studied with Solomon Mikowsky and Maria Curcio, th e
distinguished pupil of Artur Schnabel.
School of
music
UNIVERSITY of I0UISVILLE.
dare to be great
presents
Faculty Recital
Sidney A. King, double bass
with
David George, piano
Gareth Jones, guitar
Monday Evening
November 13, 2006
8:00 P.M.
Malcolm Bird Recital Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, plense walk to the nearest exit. The use of recording devices andfash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Sonata in F Major
Andante
Vivace
Grave
Allegro
Georg Phillipp Telemann
(1681-1767)
Lagrimas del Pueblo Gareth Jones and Sidney King
(b. 1975) (b. 1959)
Reitba
Francois Rabbath
(b. 1931)
Sonatine Nr. 1
Mafiig bewegte Halbe
Adagio
Sehr lebhaft, scherzando
Adagio, cantabile
Fritz Skorzeny
(1900-1965)
PAUSE
Sonata
Allegro moderato
Largo
Cadenza; allegro molto
David Anderson
(b. 1962)
Aria et Rondo
Alfred Desenclos
(1912-1971)
BIOGRAPHIES
Sidney A. King is the instructor of double bass at the University of Louisville
School of Music. He has recently retired as the assistant principal bassist of the
Louisville Orchestra, having held that position from 1984-2006. As an active
soloist and chamber musician, Sidney performs frequently throughout the
Midwest in various recital settings, including service for fourteen years as a
core member of the Kentucky Center Chamber Players. He has held a position
on the board of directors of the International Society of Bassists (2003-2006).
Sidney has been a performer at the Grand Teton Music Festival since 1992, often
serving in titled positions with that orchestra. He has performed as principal
bassist with the Houston Grand Opera, the Texas Opera Theater, the Sunflower
Music Festival, and the Des Moines Metro Opera. He has also performed with
the Detroit Symphony, the Cincinnati Symphony, the Houston Symphony, the
Pittsburgh Symphony, the Indianapolis Symphony, and the North Carolina
Symphony.
Sidney has been the double bass instructor at the Sewanee Summer Music
Festival and at Indiana University Southeast. He has long been involved in
music education, teaching and coaching many youth ensembles as well as
giving numerous solo performances in public and private schools. He is a
frequent performer at many area church services, often performing his own
arrangements most notably at Christ Church United Methodist in Louisville. He
is a founding member of the flamenco ensemble ...al Sur, serving as a
performer, composer, and arranger with that group. In January 2007 ...al Sur
will be featured with the Louisville Orchestra, performing orchestrations of
works he co-composed with guitarist Gareth Jones.
David George is a native of Louisville, Kentucky and received his Bachelor
Degree in Piano Performance at the University of Louisville where he studied
with Lee Luvisi. Presently, he serves on the Piano Faculty at Bellarmine
University, and is also Staff Accompanist for the Vocal Department at the
University of Louisville. Some of his past musical endeavors include vocal
accompanist for Governor's School for the Arts, keyboardist and musical
director of children's musical theatre, and working as pianist and organist in a
church position. David performs regularly with many area musicians in both
public and private venues. As a recitalist, chamber musician and accompanist,
he has performed in a multitude of settings both in the U.S. and abroad, and is
often found on the concert stage in student or faculty recitals.
Gareth Jones studied the classical guitar at the University of Evansville. After
graduating, he moved to California where he was active in the music scene,
especially in rock n' roll performance. He quenched his fire for the rock energy
and lifestyle quickly and rediscovered his love for the sound of the nylon string
guitar. He broke away from group projects and began a solo career using tire
experiments and experiences of modern music combined with the age-old
sound of the classical guitar. Using samplers and sequencers, he designed his
first solo album Classical Trance, an unusual mix of Bach, Debussy, de Falla, and
his own compositions. After this project, he found himself wanting to explore
more deeply the intricacies of the guitar. He traveled to the south of Spain,
where he spent six months studying the art of flamenco guitar, (over)
mainly in Granada. Upon his return to Louisville, he auditioned for Mara
Maldonado, Artistic Director of Ballet Espanol, whereupon he was named
Resident Guitarist of the company. It was in this position that Gareth formed
his working relationships with Sidney King and Gradela Perrone. Adding the
additional collaboration of Brian Kushmaul marked the beginning of the fla¬
menco ensemble ...al Sur.
U/iS/jB Q,
Cl ^ ^ Co C/_
School of
music
INIVERSITYof IOULSVILLE.
^ -—
dare to be great
The U of L Community Band Presents:
A Holiday Benefit Concert for the
Salvation Army
Program
Let it Snow!/Winter Wonderland
All is Calm (based on Silent Night)
First Noel
I’ll Be Home For Christmas
Greensleeves
Sleigh Ride
Arranged by Ralph Ford
Setting by Robert W. Smith
Arranged by Jeff Simmons
Arranged by James Swearingen
Arranged by Alfred Reed
Leroy Anderson
Personnel (listed in alphabetical order)
Flutes
Mary Ellen Adams
Lindsy Edens
Betty Muse
Jessica Neamon
Melanie Pawul
Clarinets
Shawna Baumgardner
Heather Bump
Jane Crecelius
Brenda Chaplin
David McArthur
Malinda Rawls
Carolyn Skinner
Bass Clarinet
Laurie McKinstry
Saxophones
Bud Blevens (alto)
Patrick Morris (Tenor)
Sammy Neurath (alto)
Horns
Miki Fly
Autumn Morkin
Jesse Schuler
Amanda Wright
Trumpets
Mike Pawul
Harry Rinehart
David Westerfield
Trombones
Ben Gratzer
Eriko Sasaki
Baritone
Elizabeth Matera
Tuba
Whitney Tillman
Percussion
Michael Burkhead
Gaylord Long
Jim McDaniel
School of
music
IMVERSIlYqf 1DLJISVILLE
dare to be great
presents
University
Jazz Ensemble II
Jerry Tolson, director
with
University
Jazz Repertory
Ensemble
Ansyn Banks, director
Tuesday Evening
November 14, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
University Jazz Repertory Ensemble
Killer Joe
Benny Golson
(b. 1929)
All the Things You Are
Jerome Kern
(1885-1945)
There Will Never Be Another You
Harry Warren
(1893-1981)
Well, You Needn't
Thelonius Monk
(1917-1982)
arr. Ian Hayes
Blues March
Benny Golson
University Jazz Ensemble II
All the Things You Are
Oscar Hammerstein II
(1895-1960)
and Jerome Kern
arr. Mike Sweeney
Freddie Freeloader
Miles Davis
(1926-1991)
arr. Frank Mantooth
Madrid
Erik Morales
Cute
Neal Hefti
(b. 1922)
arr. Bob Mintzer
Missing Tooth
Doug Beach
(b. 1952)
University Jazz Repertory Ensemble
Ansyn Banks, director
John Bryant, trumpet
Jake Stith, guitar
Ian Hayes, guitar
Bill Clark, piano
JohnKohne, piano
Jake Reber, bass
Justin Heaverin, drums
University Jazz Ensemble II
Jerry Tolson, director
Natalie Boeyink and Brent Hall, graduate assistants
Saxophones
Zach Driscoll
alto
Taylorsville
Neel Barua
alto
Newark, DE
Nate McCoy
tenor
Murray
Evan Hudson
tenor
Frankfort
Kevin Arbogast
baritone
Bowling Green
Trombones
Audrey Davis
Louisville
Walter Malzahn
Louisville
Krista Eifler
Newburgh, IN
Trumpets
Jennifer Grant
Louisville
Zach Groves
Calvert City
Shaun Shotwell
Henderson
Joel Watson
Mount Gilead, OH
Rhythm
Wade Honey
piano
Rapid City, SD
Curtis Kennedy
guitar
Toronto, ON
Jenna Mattingly
bass
Louisville
John Alvey
drums
Thompson's Station, TN
Justin Hearverin
drums
Louisville
IMVERSITYof IOUISVILLE
^ --
dare to be great
presents
University
Student
Composers
Wednesday Evening
November 15, 2006
8:00 P.M.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please lualk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
String Quartet No. 1 (2006) Christopher D. Hogan
1. Moderato (b. 1981)
2. Adagio
3. Allegro
Joe Ortiguera, violin
Alexandra Ostroff, violin
Monica Clarke, viola
Charlie Patton, cello
Spametry(2006)
1. Krakatoa Aristotle inquisitor
deferrable bridgeable
2. Compass Ignition
3. caryatid maggot shortsighted candlestick sorry
Rianne Marcum, soprano
Scott Moore, violin
Aaron Stepp
(b. 1985)
On Escaping the Confines Of (2006)
1. Locked
2. Picked
3. Looted
Russ W. Wallace
(b. 1984)
Christopher White, piano
PROGRAM NOTES
(written by the composers)
String Quartet No. 1 Christopher Hogan
String Quartet No. 1 was completed in the Spring of 2006. The first
movement has two distinct sections: the first, a broad and wandering
melody with crunchy harmonies, and the second, which contrasts a bright
soaring melody with a harsh motivic idea stemming from the earlier idea
of the movement. The second is the contrasting movement, characterized
by a slow, focused calm. Its momentum is definitive, but the buildup
reserved. The climax of the arc is achieved in an almost tragic moment of
blossoming sound, which trickles down slowly to a subtle conclusion. A
cello solo connects the second movement to the third, which is immediately
faster. This final movement is mysterious and dark in nature. The dotted
figure, which is the most distinctive unifying figure of the entire piece,
returns in a less exposed location than in previous movements — and
remains an important idea through the end.
Spametry Aaron Stepp
"Spametry" is a term a philosophy professor I had over the summer
called spam that was strangely close to poetry. Professor Cubbage high¬
lighted several of these works to me, and I had to set them to music. My
thanks to Professor Cubbage for coining this word.
On Escaping the Confines of Russ W. Wallace
When one is first exposed to New Music, assuming they were not raised
with it, there are certain elements of it that require adjusting your precon¬
ceived notions of what music can be. This was the case for me a few years
ago when I first started at U of L. I wrote this piece to help represent that
exposure. The first movement starts out with a set tempo, and is not
terribly far-reaching harmonically. The second and third movements get
farther and farther from that idea, eventually expanding to a place where
tempo and harmony don't have to exist. This is still a concept I struggle
with.
Suite No.l G Major, Opus 131, Nr.l
Prelude-Vivace
School of Music
University of Louisville
Presents
Cello Studio Recital
Thursday Evening
November 16, 2006
8:00 p.m.
Bird Hall
V
Max Reger
(1873-1916)
t
Grave, Metamorphoses for Cello and Piano (1981
Luke Darville, cello
.10
Concerto for Cello in E Minor, Op 85.i
Adagio-Moderato
/
Erin Cassel, cello
Adrienne Fontenot, piano
Charlie Patton, cello
Adrienne Fontenot, piano
Concerto in C Major
Adagio
Concerto in B Minor, Opus 104
Allegro
Frederick Speck, cello
Lisa Reynolds, Piano
Sonata in A Minor, "Arpeggione" D. 821
Adagio
Kimberly Burger, cello
Jessica Litwiniec, piano
Concerto no. 1 in A Minor, opus 33
Allegro ma non troppo
Audrey Bowlds, cello
Barrett Wilson, piano
Barber of Seville: Overture
Byron Farrar, cello
Jay Coughlon, piano
Witold Lutoslawski
(1913-1994)
Edward Elgar
(1857-1934)
Joseph Haydn
(1732-1809)
Antonin Dvorak
(1841-1904)
Franz Schubert
(1797-1828)
Camille Saint-Saens
(1835-1921)
G. Rossini/ Moore
Kimberly Burger, Molly Goforth, Byron Farrar and Luke Darville, cellists
Intermission
Sonata in A major
Adagio
Allegro
Luigi Boccherini
(1743-1805)
Concerto in D minor
Intermezzo
Clayton Vaughn, cello
Krista Wallace-Boaz, piano
Cello Concerto in G Minor, Op. 49
Allegretto
Molly Goforth, cello
Jim Dersch, piano.
\
Edouard Lalo
(1823-1892)
Dmitry Kabalevsky
(1904-1987)
Concerto in B Minor Op. 104
Adagio ma non troppo
Concerto in C Major
Moderato
Nicole Boguslaw, cello
Jim Dersch, piano ' ^
V
Marlene Ballena, cello
Krista Wallace-Boaz, piano
Katie Schladand, cello
Julianna Horton, piano
Antonin Dvorak
\
V
Joseph Haydn
\
V
Requiem, Op. 66
Erin Cassel, Nicole Boguslaw and Katie Schladancf*cellists
Julianna Horton, piano
David Popper
(1843-1913)
School of
music
INIVERSITYof I DUISVHLE
dare to be gtval
Thursday, November 16, 2006
3:00 p.m.
Malcolm Bird Recital Hall
Chanson Triste, Op. 2
Allegro moderato
Charles S. Blanton, double bass
MUS 303/King
Drew Foley, piano
Sonata in C Major
Adagio
Menuet I
Menuet II
Megan Johnson, flute
MUS 211/Gottlieb
Holly Thompson, piano
Concerto in D Major
Allegro
John Little, horn
MUS 604/ Heim
Jessica Litwiniec, piano
Andante in C Major
Ty-Juana Taylor, flute
MUS 311/Gottlieb
Andrea Reynold, piano
Blues and Variations for Monk
Sara Poe, horn
MUS 311/Heim
Poucha Dass
Chris Korenkiewicz, double bass
MUS 312/King
Convocation
Serge Koussevitsky
(1874-1951)
J.S. Bach
(1685-1750)
Joseph Haydn
(1732-1809)
W.A. Mozart
(1756-1791)
David Amram
(b. 1930)
Francois Rabbath
(b. 1931)
'hursday, November 16, 2006
i;00 p.m.
Malcolm Bird Recital Hall
Convocation
•arioso and Etude
Halsey Stevens
(1908-1989)
Alice Markiewizc, double boss
MUS 312/King
Austin Echols, piano
Concertino for Clarinet, Op. 26
Allegro cantabile
Carl Maria von Weber
(1786-1826)
Adam Thomas, clarinet
MUS 211/ Zavadil
David George, piano
School of
music
LNIVERSriYqf IOUISVILLE.
^ " --
dare to be givat
Thursday, November 16,2006
3:00 p.m.
Margaret Comstock Concert Hall
Convocation
Concerto No. 1
Allegro moderate
Carl Maria von Weber
(1786-1826)
Amanda Wright, clarinet
MUS 411/Zavadil
David George, piano
Sonate, Op. 167 Camille Saint-Saens
(1835-1921)
Michael Burkhead, clarinet
MUS 211/Zavadil
David George, piano
Requiem David Popper
(1843-1913)
Nicole Boguslaw, cello
Erin Cassell, cello
Katie Schladard, cello
Julianna Horton, piano
MUS 211/York
Musette
Adagio
Presto
Lara Wolff, flute
Mary Beth Mann, oboe
Tim Zavadil, clarinet
MUS 119/Zavadil
Sonatine
Modere
Mouvement de Menuet
Caix d'Hevelois
(1670-1750)
W.A. Mozart
(1756-1791)
F. J. Haydn
(1732-1809)
Maurice Ravel
(1875-1937)
Sandra Duran, piano
MUS 304/Kee
Thursday, November 16, 2006
3:00 p.m.
Margaret Comstock Concert Hall
Convocation
Sonata in C Minor, Op. 30, No. 2
Allegro con brio
Juan Carlos Ortega, violin
MUS 613/Rafferty
Adrienne Fontenot, piano
Sonata in Eb Minor
Allegro cantabile
Jim Dersch, viola
MUS 303/ Hofman
Krista Wallace-Boaz, piano
Partita (1965)
Prelude - Allemande
Kevin Arbogast, saxophone
MUS 303/Moore
Krista Wallace-Boaz, piano
Ludwig van Beethoven
(1770-1827)
Johannes Brahms
(1833-1897)
Erwin Dressel
(1909-1972)
School of
music
INIVERSITYof 1 DUISVILLE
dare to be great
Thursday, November 16, 2006
3:00 p.m.
Rehearsal Hall (J_(oS
Convocation
Rustiques
Jesse Schuler, trumpet
MUS 211/Tunnell
Mary Ann Mattingly, piano
Eugene Bozza
(1905-1991)
Madrigal - My Lady White
Matt Greenwood, percussion
MUS 503/Kushmaul
David Maslanka
(b. 1943)
Sonata for Trumpet and Piano
Allegro
Joel Watson, trumpet
MUS 211/Tunnell
Mary Ann Mattingly, piano
Flor Peeters
(1903-1986)
Suite in
D Major
I.
Overture
II.
Allegro (Gigue)
m.
Air (Minuet)
IV.
March (Bouree)
V.
March
Zachary Schell, trumpet
MUS 203/Tunnell
Monica Clarke, piano
G.R Handel
(1685-1759)
Cafe 1930
Astor Piazzolla
(b. 1921-1992)
Daniel Stull, euphonium
MUS 311/Jones
Monica Clarke, piano
Thursday, November 16, 2006
200 p.m.
lehearsal Hall
Convocation
Tumpet Concerto
Gabrielle Brown, trumpet
MUS 212/Tunnell
Mary Ann Mattingly, piano
Emtasy and Variations on The Carnival of Venice
Charles Calloway, trumpet
MUS 403/Tunnell
Adrienne Fontenot, piano
F. J. Haydn
(1732-1809)
J.B. Arban
(1825-1889)
School of
music
IMVERSITYoJ LOUISVILLE
dare to be great
presents
University
Jazz Ensemble I
John La Barbera, director
Thursday Evening
November 16, 2006
8:00 p.m.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or
other emergency, please walk to the nearest exit. The use of recording devices is strictly
prohibited. Please silence cell phones, electronic watches and pacers. Thank you.
PROGRAM
Perceptive Hindsight
Herb Phillips
(1939-1993)
What's New
Johnny Burke
(1908-1964)
arr. Bill Holman
What'll I Do
Irving Berlin
(1888-1989)
arr. Mark Taylor
Tanga
Dizzy Gillespie
(1917-1993)
arr. Mark Taylor
For All We Kow
Fred Coots
(1897-1985)
arr. Alexis Marsh
Pipe Dreams/Countin' Them Long White Lines
John La Barbera
(b. 1945)
Little Train
Herb Phillips
(1939-1993)
Yuletide Medley
arr. John La Barbera
Auspicious Funk
Jacob Goran
(b. 1982)
Shoehorn Shuffle
Frank Mantooth
(1947-2004)
University Jazz Ensemble I
John La Barber a, director
Saxophones
David Clark alto
David Whiteman alto
Luke Barker tenor
Alexis Marsh tenor
Merritt Navazio baritone
Trombones
Chris Fortner
Mike Smith
Allison Cross
Anastasi Fafalios bass
Trumpets
Todd Obidowski
Matt Lawson
Brent Hall
Robert Bertke
Rhythm
Jonathan Epley guitar
Colin Lippy piano
Natalie Boeyink bass
Brett Hawkins drums
Justin Heaverin percussion
School of
music
IMVERSTIYqf LOUISVILLE
dare to be great
pres aits
Alisson Reber
and
Monica Clarke,
viola
students of Jamie Hofman
with
William Plummer, piano
Charlie Patton, cello
and
Nicole Boguslaw, cello
Friday Evening
November 17,2006
7:00 p.m.
Malcolm Bird Recital Hall
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this evening.
Smoking is not permitted in the School of Music building.
In the unlikely event of fire or other emergency, please walk to the nearest exit.
The use of recording devices and flash photography is strictly prohibited.
Please silence cellphones, electronic watches and pagers.
Thank you.
PROGRAM
I Like Your Jean Jacket (2006) Rob Collier
(b. 1980)
Andante and Rondo ungarese Carl Maria von Weber
(1786-1826)
Marchenbilder, Opus 113 Robert Schumann
I. Nicht sdhnell (1810-1856)
II. Lebhaft
III. Rasch
IV. Langsam, mit Melancholischem Aufdruck
Roumanian Folk Dances Bela Bartok
I. Joe Cu Bata: (1881-1945)
Stick Dance from Mezozabad, Maros-Torda
II. Brdul:
Belt Dance from Egres, Torontal
III. Pe Loc:
Stamping Dance from Egres, Torontal
IV. Buciumeana:
Hornpipe Dance from Bisztra, Torda- Aranyos
V. Poargd Romdneascd:
Polka from Beius, Bihor
VI. Mdrunjelul:
Quick Dance from Beius, Bihor
i
Sonatina for two violas Gordon Jacob
I. Allegro con brio (1895-1984)
II. Adagio
III. Allegro - Poco adagio - Allegro molto
The University of Louisville
School of Music
presents the
University Chorus
Kent Hatteberg, Conductor
with
Benjamin Powell, Student Conductor
and
Collegiate Chorale
Kent Hatteberg, Conductor
featuring
Huifang Chen, Conductor
Student of Kent Hatteberg
Graduate Conducting Recital
Given in partial fulfillment of the Master of Music degree
Margaret Comstock ConcertHall
Friday Evening
November 17,2006
8:00 P.M.
Smoking is not permitted in the School of Music Building. In the unlikely event of fire or
other emergency, please walk - not run - to the nearest exit. The use of recording devices
is strictly prohibited. Please silence electronic watches, phones, and pagers.
UNIVERSITY CHORUS
Sicut locutusest(from Magnificat in D, BWV 243) Johann Sebastian Bach
(1685-1750)
Sechs Lieder im Freien zu singen, Op. 41 Felix Mendelssohn
2. Entflieh'mitmir (1809-1847)
3. EsfieleinReif
TeQuiero Alberto Favero
(b. 1944)
arr. LilianaCangiano
Laura Pinkston, Daniel Smith, soloists
Estrellita Del Sur Felipe Coronel Rueda
(b. 1924)
arr. Enrique Iturriaga
Benjamin Powell, student conductor
COLLEGIATE CHORALE
Ave Maria
Jacob Arcadelt
(1505-1560)
Cantate Domino canticum novum
Heinrich Schiitz
(1585-1672)
LaCarita(from L'esperance)
Gioachino Rossini
Kelly Ballou, soprano
(1792-1868)
Plainchant: Ubi caritas
Ubi caritas
Maurice Durufle
(1902-1986)
Cantate Domino
Vytautas Miskinis
(b. 1954)
Embrace the Spring Breeze (Chinese Folk Song)
Yuhsian Teng
(1906-1944)
arr. YushanTsai
(b. 1967)
Kmolh (Taiwanese Tribal Song)
Amanda Bryant, soprano
arr. Yushan Tsai
COMBINED CHOIRS
and members of the
UNIVERSITY SYMPHONY ORCHESTRA
Requiem, K. 626 Wolfgang Amadeus Mozart
III. Sequence (1756-1791)
No. 1: Dies irae
No.6:Lacrimosa
He, watching over Israel (from Elijah ) Felix Mendelssohn
University Chorus
Kent Hatteberg, director
Benjamin Powell, student director
Huifang Chen, accompanist
Alto
Soprano
Lynn Baker
Nikki Bernstein
EricaBlankenship
Sarah Clark
Sandra Duran
LaraFejes
ChristinaHatfield
Jessica Heard
MelissaRenn
Jennifer Thompson
ElizabethUnderwood
Sarah Watkins*
Christina White
Tenor
Billie Bradford
Dustin Seabolt
SeungYongShin*
Matt Wallen
Graduate Students *
Jennifer Baker
Amy Berg
ErinHeckmann
HyunJungJi*
Megan Johnson
Laura Pinkston
Holly Thomerson
Sasha Wiseman
Bass
Andrew Baker
Chad Blackman
Gary Clark
Aaron Craker
Daniel R. Goode
Armistead Grandstaff
Andrew Masden
Charles Rivera
Chris Seal*
Daniel Smith
JeffThomas
Barrett Wilson
Symphony Orchestra
Kimcherie Lloyd, director
Joe Ortiguera & Alexandra Ostroff,
graduate assistants
Charlie Blanton & Mihai Spin, managers
First Violin
Alexandra Ostroff,
concert mistress
Gabrielle Boguslaw
Juan Carlos Ortega
Leslie Heinzen
Second Violin
Jedidiah Cowart
Cordia Thompkins
AnnaDolan
LiaRamirez
Viola
FeliciaHogan
Alison Simpson
HannahTuri
Cello
Kimberly Burger
Molly Goforth
ErinCassel
Bass
Chris Korenkiewicz
Alice Markiewicz
Flute
MimiDeGuzman
John Aurelius
Oboe
Gretchen Reiter
Mary Beth Mann
Clarinet
Chris Phill ips
Carolyn Fassio
Bassoon
Carrie Baxter
JayCoughlon
Horn
Stephanie Radcliffe
LeahSimer
Trumpet
Charles Calloway
RyanNottingham
Trombone
Audrey Davis
Rusty Crimm
AnastasiFafalios
Timpani
Rodney Younger
Collegiate Chorale
Kent Hatteberg, director
Austin H. Echols, Jr., accompanist
Soprano I
Amanda Tarryn Bryant
Hu i fang Chen*+
Hilaiy Hilliard
Cassie Lyles
Kelly Welding
Kelli White
Ellen Whittaker
Soprano II
Kelly Ballou
Libby Ford
LynHall
AlaneHart
ErinKeesy
Rianne F. Marcum
Claire Mosley
Jenifer Thomas
Tenorl
Bill Coleman
JoshuaHein
Kevin Sproul
Walter Jay Wollmann
Tenor II
Rob Carlson
Josh Hamilton
Adam Hardin*
Seung Y ong Shin*+
Graduate Students *.
Section Leaders+
Alto I
A. Nicole Alexander
Kristyn Brown
Amanda Harless
HyunJungJi*
Sarah Powell
Emely Sepulveda
Amanda K. Walker
Myco Tran Wulkopf
Alto II
AJisiaEpps
ShareikaL. Fisher
Mary Beth Harris+
EmilyNeubauer
Paula Rada
Carlisle Schoner
Kate Sureck
Bass I
Phillip Morgan
Benj amin Powell *+
Christopher Shortt
Justin Wilkey
Bass II
Evan Blum
JayCoughlon
Austin H. Echols, Jr.
R. Andrew Fowler
Ben Riley
Barrett Smith
Adam Yankowy
University Chorus and Collegiate Chorale
with members of the
University Symphony Orchestra
Graduate Conducting Recital
Friday, November 17, 2006, 8:00 p.m.
Margaret Comstock Concert Hall
Huifang Chen, conductor
Program Notes, Texts, and Translations
Ave Maria Jacob Arcadelt
Ave Maria, gratia plena, Hail Mary, full of grace,
Dominus tecum, ave Maria, the Lord is with thee, Hail Mary,
benedicta tu in mulieribus, blessed art thou among women,
et benedictus fructus ventris tui, Jesus, and blessed is the fruit of thy womb, Jesus.
Sancta Maria ora pro nobis. Amen. Holy Mary, pray for us. Amen.
Jacques Arcadelt (1504 or 1505-1568) was a Flemish composer of the late Renaissance. He
composed mostly the madrigals and chansons. The style of Ave Maria is very homophonic
and sectional. There are also no dynamics or phrase markings in the score. I choose this piece
because it meant that the singers must learn to shape the phrase from the melodic line and
from understanding the text.
Cantate Domino Heinrich Schiitz
Cantate Domino canticum novum,
laus eius in ecclesia sanctorum.
Laetetur Israel, in eo qui fecit eum,
et filiae Sion exultant in rege suo.
Laudent nomen eius
in tympano, et choro,
in psalterio psallant ei.
Sing to the Lord a new song,
and his praise in the assembly of saints.
Let Israel rejoice in him who made him,
and the daughters of Zion rejoice in their king.
Let them praise his name
with the drum and the dance.
Let them sing praises unto him with the harp.
Heinrich Schiitz, (1585-1672) is a great German composer of the 17th century. He composed
mainly sacred music using mainly biblical texts. Cantate Domino canticum novum, SWV81,
is a challenging setting with complicated rhythms and sparkling textures. The text is from
Psalm 149, 1-3. Schiitz made extensive use of text painting throughout the work. Three
sections, one section for each of the three verses, are set off by clear cadences. The work is
basically tonal with modal inflections. The piece begins in Bb major with imitative entrances
on the “cantate.” The middle section has a lot of modulation and a two-part fugue. In the third
section a special phrase, first heard in the bass, returns again and again.
La Carita
Gioachino Rossini
O carita de, virtu del cor,
Tu l 'uomo infervori santo ardor
Tu l ’affratelli e nei martir
Consoliil poverode ' suio sospir
love is the virtue of the spirit
it inspires it makes people believe in harmony
it comforts those who are suffering
give the comfort to who has a broken heart
Iddio rivelasi solo perte
Tu inspiri al misero del benlafe ’
L 'alma che accendesi del tuo fervor
Spande sugli uomini divin fulgor
God uses this virtue to review to the weak people
to review to the weak people so they move forward
it light turn the flame to
proclaim the love of God to the world
Allor che il mondo tua voce udra
Di guerra il fremito sispegnera
L 'ira I'irgoglio flan vintiallor
Daun sacro vincolo d'eterno amor
Di guerra ilfremito si spegnera
when the world listens to your prayers of love
the sufferings of the world may be diminished
hatred and cried may by limited
this holy love may be come be triumphant feast
the sufferings of the world may be diminished
Tu inspirial misero del ben la fe ’
Inspirial misero del ben la fe'
Iddio rivelasi solo perte.
the revolution is comfort those who sufferings move
forward
it inspires you to move forward
God uses this virtue to review to the weak people.
Rossini (1792-1868) became successful early in his life by composing operas. When he was
37 and very famous he stopped composing suddenly. After thinking about God’s mercy for
almost ten years, he started to compose again, but he wrote only sacred music. La carita
(Love) is one of his sacred works that together with La Fede (Faith), La Speranza (Hope),
make up L'esperance, which was written in 1844. The text of this piece is from the Bible,
Corinthians I Ch 13 that talks about faith, hope and love. We will perform the last section,
Love. The piece is for women’s voices, SSA and one solo voice. The melody is comforting,
the music is very simple and pure; it shows the love of God.
Ubi Caritas (from Quatre Motets) Maurice Durufle
Ubi caritas et amor, Where there is charity and love,
Deus ibi est. God is there.
Congregavit nos in unttm Christi amor. The love of Christ has gathered us together.
Exsultemus et in ipso jucundemur. Let us rejoice and be glad in it.
Timeamus et amemus Deum vivitm. Let us revere and love the living God.
Et ex corde diligamus nos sincero. And from a sincere heart let us love one
another.
Maurice Durufle (1902- 1986) was born in Louviers, France. He studied piano, organ and
theory. He loved Gregorian chant therefore his compositions all were inspired by plainsong.
Ubi caritas from Ouatre Motets is one that begins with a chant. Its original chant melody is
set in Durufle’s own style of harmonization. You can hear this in his piece. For instance, he
2
manages to convey the flexibility of the chant by changing the meter all the time, for
instance, first 2/4 then 3/4 then 4/4- sometimes a change in each measure. If the interpretation
follows these changes exactly the music will not flow, but if the musicians have the sound of
the chant in their minds they can perform the music in a way that sounds like chant.
The altos in the score sing in two groups, one of which follows the other and echoes
it. In the middle section where the text expresses gladness (“Let us rejoice”) the sopranos
enter and create a climax through the expansion of the harmony; everybody sings together.
The piece overall is very peaceful, and shows the love of God.
Cantate Domino (Psalm 98)
Vytautas Miskinis
Cantate Domino canticum novum
et benedicite nomini ejus,
quia mirabilia fecit
etpsalite in cithra et voce psalmi
Sing to the Lord a new song
and bless his name,
for he has done marvelous things;
make music to the Lord with the harp.
According to information from the Lithuanian Music Information Centre, Vytautas Miskinis
(1954- ) is active as a choir conductor, educator and composer. Since 1991, he has been
artistic director of “Museum musicum” and a faculty member of the Choral Conducting
Department of the Lithuanian Academy of Music since 1985. Vytautas Mi§kinis has been a
jury member of numerous international choir competitions in Lithuania, Latvia and Germany,
president of the Lithuanian Choral, a consultant of “Europa Cantat” (European Youth Choir
Federation) music committee, an honorary member of ACDA (The American Choral
Directors Association), a member of IFCM (International Federation for Choral Music) youth
music committee, and, since 2004, a board member of “Choir Olympics.”
Cantate Domino canticum novum was written in 1997. The work is in ABA form with
a coda. Miskinis uses melodic material in a popular music idiom to describe the psalm text in
the A section of the work. This setting brings alive the essence of this joyous psalm.
Embrace the Spring Breeze Lyricist: Li Lin-chiu
Composer: Teng Yu-hsien
Arr: Yusian Tsai
She sits alone under the lamp,
nmrnk
the breeze in her face.
-t-t
Sixteen or seventeen and yet unwed,
she waits for a boy.
mirage
He is handsome, and of fair complexion.
tw&cm
Who knows which family he is from?
Shyly, she longs to ask,
and her heart pitter-patters.
3
Written in 1933 by lyricist Li Lin-chiu and composer Teng Yu-hsien, Embrace the Spring
Breeze is a Taiwanese classic. The lyricist Li Lin-chiu, who is familiar with Chinese
literature, used the literary styles to depict love relationships in Taiwan at the time. The
composer Teng Yu-hsien, who received only an elementary school education but has been
named by some people as “the father of folk song” in Taiwan, used the pentatonic scale G-A-
C-D-E in this piece. The piece is sung by SATB a cappella. Yusian Tsai rearranged the
edition we are singing in 2003; but even though the piece is rearranged, its music still letains
the original style.
Kmloh arr. Yushan Tsai
Kmloh ta kwara riyax soniy,
Memcnv mta lah trakis ru paqay,
Yutas yaki mzimu kwara,
Lhbaw skutaw nha uzy.
It is the harvest festival today.
Look! Millets and rice plants are all ripe now.
Grandfathers and grandmothers are very happy.
A sense of relieffills the air.
Memaw mngilis mita knloh,
Me maw mtazil kwara Tayal,
Mpanga knloh kwara Tayal,
Myugi pinwagi kwara Tayal.
Looking at the fruits of their harvest
They weep with happy tears
With the harvest on their backs
All Tayal people dance to their excitement.
Memaw ini ngilis Ciwasyu Watan,
Memaw mzimu uzy yaya ru yaba,
Mama ru yata memaw myabux,
Panga hekil ru basaw uzy.
Ciwas and Watan the couple weeps no more.
Fathers and mothers are extremely happy.
Joyfully on their backs,
They carry the harvested millet and rice.
This song is sung during the annual Harvest Festival of the Tayal Tribe. Songs of the
indigenous people in Taiwan are usually melodies hummed by the adults as a spontaneous
expression of their toil or happiness. And this song is no exception. During the harvest, the
tribal people have forgotten their past hard work and composed their joy into a song. This
song was arranged into a choral piece by teacher Tsai Yu-shan (1967-) in 2003.
Tayal, also known as the Atayal, is one tribe of Taiwanese aborigines. One of the
Tayal tribe’s main agricultural products is millet. This is the Tayal tribal song, sung during
the grain harvest in July and August. Tayal holds rites to thank the spirits of their ancestors
for protection and care following the harvest. The tribal songs originate as an expression of
hardship working in the fields and articulate the joy when harvest overflows.
The tribe of Tayal has one important instrument, which other tribes do not have, the
indigenous harmonica. At the beginning of this piece, the guys singing wis-wis are making
the sound of the indigenous harmonica. The whole piece mentions many times hohayyan and
heyyo, which represent the spirit of the indigenous people as a whole. There are more than 12
indigenous tribes in Taiwan but they only consist of 2% of the entire population. Since the
indigenous music has always been handed down through oral tradition, many valuable pieces
been lost. In recent years, attempts to recover and collect traditional music have slowly begun
but still not much indigenous music has been formally written into a cappella scores. This
song is one ot the few that has been arranged recently. I hope to share with you the traditional
music ot Taiwan’s indigenous people in this special occasion.
4
From the Requiem, K. 626
Dies Irae
Dies irae, dies ilia,
solvet saeclum in favilla;
teste David cum Sibylla.
Ouantus tremor est futurus,
quando judex est venturus,
cuncta stride discussurus!
Lacrimosa
Lacrimosa dies ilia,
qua resurget ex favilla,
judicandus homo reus.
Huic ergo parce Deus.
Pie Jesu Domine,
dona eis requiem.
Wolfgang Amadeus Mozart
Day of wrath, that day
shall dissolve the world into embers,
as David prophesied with the Sibyl.
How great the trembling will be,
when the Judge shall come,
the rigorous investigator of all things!
O how tearful that day
on which the guilty shall rise
from the embers to be judged.
Spare them then, O God.
Merciful Lord Jesus,
grant them rest
Amadeus Mozart (1756-1791) was one of the great composers in the classical period, and his
Requiem is one of his last works. He began it because of an anonymous commission but
because of his own illness he was unable to complete the work. According to scholars, when
Mozart died only some of the movements were finished and there were only sketches for the
rest. In the Dies Irae Mozart finished the vocal parts and the figured bass, but only 9
measures were composed for the Lacrimosa. After Mozart died, his wife asked one of his
students, Franz Xaver Siissmayr, to complete it. In the Dies Irae, the sounds of instruments
and the choir setting expresses the wrath of God. The strings play sixteenth-notes from the
beginning to the end and the brass response to the vocal parts makes the whole piece more
dramatic. In the strings in Lacrimosa, we can hear tears falling down expressing the sadness
of the text then ending with a blessing.
He, watching over Israel (from Elijah ) Felix Mendelssohn
He, watching over Israel, slumbers not, nor sleeps.
Shouldst thou walking in grief languish, he will quicken thee.
Elijah is one of Felix Mendelssohn’s (1809-1847) oratorios. The text is from the Bible, and it
is about God’s promise to the Israelites. The melody of this movement gives the people
comfort. In He, watching over Israel there are two themes. The first theme is found on the
text of “He, watching over Israel slumbers not nor sleeps.” Another theme has the text
“Shouldst thou walking in grief languish.” It starts in the sopranos and sounds very light, like
an angel. The second theme starts in the tenors. At the end of second theme, the first theme
appears again which confirms that God is really watching over Israel. The music gives us the
comfort of God and peace in Him.
5
University of Louisville
University Chorus, Collegiate Chorale,
and
Cardinal Singers
Friday, November 17, 2006
Texts, Translations, and Notes
Sicut locutus est Johann Sebastian Bach
Bach moved from Cothen to Leipzig in 1723, where he took the position of Kantor at the
Thomaskirche. For Christmas services he composed the Magnificat BWV 243a, as well as
Cantata 63 and perhaps the Sanctus in D major, BWV 238. The Magnificat was originally
composed in the key of E-flat, but Bach transposed it to the festive key of D major and made a
few minor revisions some years later. The version in D major is the one that is best known
today. Sicut locutus est is the eleventh movement in the twelve-movement work. It is a five-
voice fugue accompanied only by continuo.
Sicut locutus est ad patres nostros, As it was spoken to our fathers,
Abraham et semini ejus in saecula. Abraham and his seed for ever.
Luke 1:54
Sechs Lied im Freien zu Singen, opus 41 Felix Mendelssohn
Mendelssohn’s choral songs were never intended for the concert stage, but for leisure activities
such as outdoor walks, strolling through the woods, or rowing a boat. He published three
volumes of songs for mixed voices during his life, including the opuses 41, 48, and 59-18
choral songs — with the heading Im Freien zu singen, or “to be sung in the open air.” After
concerts that would today be considered marathon events, Mendelssohn’s musician friends
sometimes would gather for walks, where they would sing some of his songs. In these songs,
Mendelssohn chose poetry by the finest German poets, including Uhland, Eichendorff, Goethe,
Heine, and Lenau. The two selections performed this evening are settings of texts by Heinrich
Heine.
Op. 41, No. 2
Entflieh ’ mit mir und sei mein Weib,
und ruh' an meinem Herzen aus;
in weiter Feme sei mein Herz
dir Vaterland und Vaterhaus.
Undfliehst du nicht, so sterb' ich hier
und du bist einsam und allein;
und bleibst du auch im Vaterhaus,
wirst doch wie in der Fremde sein.
Heinrich Heine
Flee with me and be my wife,
and rest upon my heart;
in distant lands let my heart
be your fatherland and parental home.
If you do not flee, I ’ll die here
and you will be lonely and alone;
and you will remain in your parental house,
but it will be like a foreign land to you.
1
Op. 41, No. 3
Es fiel ein Reif in der Friihlingsnacht,
erfiel auf die bunten Blaubliimelein,
sie sind verwelket, verdorret.
There fell a frost on a night of spring,
it fell on the delicate blossoms blue,
the blossoms withered, and drooped.
Ein Jiingling hatte ein Madchen lieb,
sie flohen heimlich von House fort,
es wusst' weder Voter noch Mutter.
A young man one loved a maiden fair,
in secret they ran away from home,
unknown to their father or mother.
Sie sind gew under t bin und her,
sie haben gehabt weder Gluck noch Stern
sie sind gestorben, verdorben.
Heinrich Heine
They wandered aimlessly here and there,
, they had neither luck nor guiding star,
they met their ruin, and perished.
Te Quiero
Alberto Favero (b. 1944)
arr. Liliana Cangiano (1951-1997)
Te Quiero is an original song from Alberto Favero, an Argentinian composer of popular
music. He sets to music the moving poem of Mario Benedetti (b. 1920), one of the best-known
poets from Uruguay. Benedetti, whose works include a vast collection of poems, novels, and
tales, always writes in a very clear and expressive manner. His solidarity with the Latin-
American people and the sincerity with which he expresses the social, political, and economic
problems of the continent have won him worldwide recognition.
The music of Alberto Favero is vivid and expressive, particularly in the setting of this
poem, where melody and text achieve a perfect unity. The choral arrangement of Liliana
Cangiano, one of the most talented choral arrangers of popular songs in Argentina, gives a new
dimension to this work, which is included in many choral programs today.
Maria Guinand [notes from the score]
Si te quiero es porque sos
mi amor, mi complice y todo
y en la calle codo a codo
somos much mas que dos.
If I adore you it is because you are
my love, my intimate friend, my all
and in the street, arm in arm,
we are so much more than two.
Tus manos son mi caricia,
mis acordes cotidianos;
te quiero porque tus manos
trabajan por la justicia.
Your hands are my caress,
my daily affirmations;
I love you because your hands
work for justice.
Tus ojos son mi conjuro
contra la mala Jornada;
te quiero por tu mirada
que mira y siembra futuro.
Your eyes are my lucky charm
against misfortune;
I adore you for your gaze
that looks to and creates the future.
Tu boca que es tuyay mia.
tu boca no se equivoca;
te quiero porque tu boca
sabe gritar rebeldia.
Your mouth is yours and mine,
your mouth is never mistaken;
I love you because your mouth
knows how to ciy out for rebellion.
Ypor tu rostro sincero
y tu paso vagabundo
.V tu llanto por el mundo;
porque sos pueblo te quiero.
Andfor your sincere face
and wandering spirit
and your weeping for the world;
because you are the people, I love you.
2
Yporque amor no es
aureola ni Candida moraleja
y porque somos pareja
que sabe que no esta sola.
Te quiero en mi paraiso,
es decir que en mi pais,
la gente viva feliz
aun que no tenga perm iso.
Mario Benedetti
And because our love is
neither famous nor naive
and because we are a couple
that knows we are not alone.
I want you in my paradise,
which is to say, in my country,
I want the people to live happily
even though they aren't allowed to.
Estrellita del Sur Felipe Coronel Rueda
arr. Enrique Iturriaga
Enrique Iturriaga lives in Lima, Peru, and has taught theory and composition at the Lima
Conservatory, Universidad Nacional Mayor de San Marcos, and Conservatorio Nacional de
Musica. He once studied with Arthur Honeggar in Paris. Lima, the capital of Peru, was the most
important cultural and political Spain center from the Colonial times in the Americas until almost
1810, when the independence movements began in South America.
The waltz (a moderate triple time dance) originated in Europe around 1800 and was
brought to the New World. Because the waltz rhythm became so popular in Peru it has become
known as the Peruvian waltz.
[unsigned notes from score]
Cuando lejos de ti
quiera penar el corazon,
violento en su gemir
recordare de tu reir,
su vibracion que fue
canto de amor, himno de paz,
ya no habrd entonces dolor,
todo sera felicidad.
No, no te digo un cidios,
estrellita del sur,
porque pronto estare
a tu lado otra vez,
y de nuevo sentir
tu fragancia sutil;
campanas de bonanza
repicard en mi corazon.
Felipe Coronel Rueda
When far away from you
the heart will want to be troubled,
in its violent groan
I will remember your laugh,
the vibration that was
a song of love, a hymn of peace,
then no pain will be there,
all will be happiness.
No, no, I don ’t tell you goodbye,
little star from the south,
because soon I will be
at your side once again,
and again smell
your subtle fragrance;
bells of triumph
will ring in my heart.
music
INIVERSITYqf IOUISVILLE
dare to be great
presents
Student
Recital
Todd Obidowski,
trumpet
student of Michael Tunnell
with
Krista Wallace-Boaz, piano
Saturday Afternoon
November 18, 2006
4:00 p.m.
Malcolm Bird Recital Hall
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this afternoon.
Smoking is not -permitted in the School of Music building.
In the unlikely event of fire or other emergency, please walk to the nearest exit.
The use of recording devices and flash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
PROGRAM
Concerto in D Major
Allegro
Andante
Allegro grazioso
Giuseppe Tartini
(1692-1770)
Concerto in Eb Major Franz Joseph Haydn
Allegro (1732-1809)
Andante
Allegro
INTERMISSION
Sonata for Trumpet and Piano Paul Hindemith
With strength (1895-1963)
Moderately moving
Funeral music, very slowly
Sonata for Cornet and Piano Thorvald Hansen
Allegro con brio (1847-1915)
Andante con espressione
Allegro con anima
CHAMBER
MUSIC
SOCIETY
of Louisville
USWERSTIYof I OUISV] 1J P .
ilaiv in he gnnt
69th Season
Three Hundred Twenty-Fourth Concert
of the Society
The Los Angeles
Guitar Quartet
John Dearman
William Kanengiser
Scott Tennant
Andrew York
Margaret Comstock Concert Hall
University of Louisville School of Music
Sunday, November 19, 2006
3:00 P.M.
WILL
19Q5FM1
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this afternoon.
Smoking is not permitted in the School of Music building.
In the unlikely event of fire or other emergency, please walk to the nearest exit.
The use of recording devices and fash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
The Chamber Music Society was founded in 1938 by the University of Louisville and
operates in affiliation with the University of Louisville School of Music.
The Chamber Music Series is dedicated to the memory of
Miriam Weis
( 1921 - 1976 )
These concerts are a tribute both to the music community...young and old, profes¬
sional and amateur. ..which received her loving attention, and to this special music
which she treasured.
Acknowledgments
The Chamber Music Society of Louisville is supported by the generosity of numerous
individuals and organizationswho join in its purpose ofpresenting performances of the
world's best chamber music by its mostrenowned artists. The Board otTrustees thanks
all who contribute to this effort and who help bring meaningful music to us all:
Gerhard Herz Sustainers, Society Sustainers, Benefactors, and Patrons
Tire Miriam Weis Endowment
The Gerhard Herz Estate
University of Louisville School of Music
Dr. Jean Christensen
WUOL90.5 FM
Gerhard Herz was a long-time beloved faculty member of the University of Louisville
School of Music and an invaluable supporter of the Chamber Music Society. Before his
death in 2000, Gerhard made a gift to the Society that was designed to insure that the
number of concerts as well as the quality of the concertsbe maintained for five years.That
period is now ending. In order to continue this legacy, a new donor category has been
established and named the Gerhard Herz Fund Sustainers. For more information on
becoming a Gerhard Herz Fund Sustainer, please contact Ms. Shaunitra Wisdom at
(502) 852-6907.
Media support provided by WUOL 90.5 FM.
Llanura
Program
Alfonso Montes
(b. 1955)
Prelude, Fugue, and Allegro
Prelude #1 from the Well-Tempered Clavier
“Little Fugue” in G minor
Allegro from Brandenburg Concerto #3
J.S. Bach
(1685-1750)
art. A. York/S. Tennant
Quiccan
Andrew York
Hungarian Rhapsody No. 2
Intermission
Four Dances from The First Book of Consort Lessons
My Lord of Oxenforde’s Maske
Galliard ‘Can She Excuse’
Response Pavin
Joyne Hands
Franz Liszt
(1811-1886)
arr. W. Kanengiser/J. Minei
Thomas Morley
(1557-1602)
arr. S. Tennant
Cumba-Quin
Two Mexican Pieces
Paisaje Mexicano
Danza de Jalisco
El Amor Brujo
Introduction y escena
En la cueva - La noche
Canci6n del amor dolido
El aparecido - Danza del terror
El circulo magico
A medianoche
Danza ritual del fuego (arr. I. Krouse)
Escena
Cancion del fuego fatuo (arr. S. Tennant)
Pantomima
Danza del juego del amor
Las campanas del amanecer
The audience is minted to meet the artists follounng todays concert in the Green Room behind the stage area.
Carlos Rafael Rivera
(b. 1970)
Aaron Copland
(1900-1993)
arr. W. Kanengiser
Manuel de Falla
(1876-1946)
arr. W. Kanengiser
Visit the Lon Angele* Guitar Quartet online at utvn lagt|tnm
I.AGQ records for Telarc International
I.AGQ u*c» Neumann microphone*
The I.oj Anpelea Guitar Quartet i* represented by:
Frank Salomon Associate*
Managing Associate Ms Bamc Steinberg
201 West 54 Street. Suite 1C
New York. NY 100 JO
The Chamber Music Society of Louisville 2006-2007
MEMBERS OF THE BOARD:
Ms. Robin Hicks, President
Ms. Jacqueline Rosky, Vice-President
Mr. Andrew Fleischman, Secretary
Mrs. Sarah Provancher,
Corresponding Secretory
Mr. Tom Pike, Treasurer
Ms. Barbara B. Brick
Dr. Christopher Doane
Mr. Ben Franklin
Dr. Douglas Haynes
Dr. Bruce Heim
Ms. Jean Kalkhof
Dr. Brenda E. Kee
Mr. Peter McHugh
Dr. Acton Ostling, Jr.
Ms. Anne L. Pope
Ms. Toni Robinson
Mr. Dallas Tidwell
Ms. Kristin DrownWingfeld
Ms. Jane Towery-Woolsey
HONORARY MEMBERS:
Mr. Lee Luvisi
Mrs. Macauley Smith
Mr. Ferd B. Weis
DR. GERHARD HERZ FUND
SUSTAINERS
($1000 OR MORE)
Mrs. Doris D. Owen Bickel
Mrs. Edith S. Bingham
Ms. Barbara B. Brick
Mr. and Mrs. Carl T. Fischer, Jr.
Mr. and Mrs. Ben Franklin
Ms. Betty Jones
Dr. Viginia T. Keeney
Dr. Chester C. Kraut
Mr. and Mrs. Robert Kulp
Dr. and Mrs. Alron E. Ncurath, Jr.
Ms. Anne L. Pope
Theodore and Jacqueline Rosky
Alice and Brooks Scnn
Ms. Jane Towery-Woolsey
Mr. Ferd B. Weis
SUSTAINERS
($ 500 - 999 )
Dr. and Mrs. Kenton Atwood
Drs. David Bybce and Polly Coombs
Drs. Marie and George Doyle
Dr. and Mrs. Douglas M. Haynes
BENEFACTORS
($ 225 - 499 )
Mr. and Mrs. Smart E. Alexander
Mrs. Charles M. Allen
Mrs. Edith S. Bingham
Mr. and Mrs. John T. Bonduranr
Ms. Evelyn Cohit
Dr. and Mrs. James M. Doyle
Ms. Alison Ewart anil Mr. Paul Vice
Dr. and Mrs. Walter Feibes
Dr. Sue McGehee Gilvin
Mr. Karl C. Gruen
Ms. Ruby E. Hampton
Mr. and Mrs. Jay Harris
Mr. and Mrs. David A. Hoefer
Mr. Wallace R. Horine
Peter and Carole McHugh
Dr. and Mrs. Condict Moore
Mr. and Mrs. Louis J. Moseson
Dr. Acton Ostling, Jr.
Mr. and Mrs. Richard D. Rivers
Mrs. Jacqueline Rosky
Mr. and Mrs. Robert H. Schulman
Mr. and Mrs. Yandell R. Smith
Dr. James and Nan Spalding
Mr. Gene P. Stolz
Dr. and Mrs. Grant Taylor
Mr. and Mrs. Dallas Tidwell
Mr. anil Mrs. James R. Voyles
Dr. and Mrs. Richard A. Ward
Dr. and Mrs. Robert L. Weaver
Jonathan and Martha Ziskind
PATRONS
($ 175 - 224 )
Mr. Frank R. Abell
Carolyn K. Balleisen
Ms. Sara Bein
Ms. Allis Eaton Bennett
Dr. C.W. Blair
Mr. A. David Bos
Mr. William Bronson
Ms. Kathie M. Buchino
John F. Carroll
Dr. and Mrs. Dario A. Cov
Francis Cummins
Ms. Carol W. Dennes
Mrs. William G. Earley
Mrs. Ewing A. Fahey
Mrs. Sarah McNeal Few
Mrs. M.T. Fliegelman
Mrs. Alan Goldberg
Ms. Mary Louise Gorman
Ms. Kathy Gundersen
Ms. Marion. Harcourt
Ms. Barbara B. Hardy
Mrs. Elizabeth Herz
Ms. Brooke Hicks
Dr. Frederic Hicks
Ms. Robin Hicks
Rose Isetti
The Rev. Helen Jones and
Tom Pike
Ms. Jean Kalkhof'
Dr. Brenda Kee
Mr. William P. Kelley, III
Dr. and Mrs. Sandor Klein
Ms. Anne Ogden
Ms. Susannah Onwood
Mrs. Joan C. Rapp
Dr. Marc Satterwhire
Dr. and Mrs. Arthur Slavin
Mrs. Macauley Smith
Elinor and Mary Starr
Frank J. Swartz
Mr. William J. Walsh III
Mr. Carl Wedekind
Mary Zinniel
-The Chamber Music Society
and
The University of Louisville
present the
69th Season
Three Hundred Twenty-Third Concert
of the Society
November 19, 2006
The Los Angeles Guitar Quartet:
Eclecticism Taken to New Heights
r ith its “dyed-in-the-wool” postmodernism, The Los Angeles Guitar Quartet is an ensemble for our time,
hrough concert programs and recordings that reveal practically unmatched breadth of musical interests,
ley might be considered the vanguard of eclecticism. Pursuing a version of “truth without authenticity”
leir guitars can evoke the sound of the African mbira or thumb piano, a Javanese gamelan, Eastern
uropean klezmer music, jazz, Balkan music, big band, funk styles, American minimalism or they might,
ith equal ease, emulate their guitar-playing heroes from every genre. A marvel of savy marketing, they
h’t so much as nod in the direction of mid-twentieth-century modernism; it’s the only style they don’t
)uch.
The quartet makes full use of the challenging potential of a sound scape derived from the basic
ramponent of 24 strings, dividing, combining and trading off, constantly shifting to create subdued airy,
uspended, or propulsive moments as they take on any one of the variety of traditions belonging to plucked
letted instruments-be it the blues, jazz, flamenco, Spanish or Latin American folklore, or court dances of
lie distant past. By virtue of the ensemble’s repertoire and vivid performance the Quartet has established
n enviable niche in the concert circuit, playing original works and arrangements, commissioning some
nd composing others, The program for the Louisville Chamber Music Society cultivates all of these
spects of their work with a program in which a prevailing Hispanic flavor is enhanced by the addition of
fee drama of the Hungarian Rhapsody-more although gypsy than Hungarian-balanced with transcriptions
if familiar instrumental pieces by J.S. Bach, and some late English renaissance dance music.
three original works dot the program, each with alluring titles, beginning in the first half with Llanura
‘plain,” “even,” or “flat”) by the Venezuelan composer/guitarist, Alfonso Montes, followed a bit later by
hiccan, an early composition by Andrew York, the member of the group who is recognized as a proponent
ifboth classical and jazz guitar. In the second half we will hear Cumba-Quin by Carlos Rafael Rivera, a
fork in the style of a rumba that captures the sounds of conga drums playing against the palitos and claves.
CHAMBER
MUSIC
SOCIETY
of Louisville
Every other work on the program is a transcription. In the first half, there are three instrumental works by
Bach. The beloved C Major Prelude of the Well-Tempered Klavier with its flowing arpeggios tracing out
the unequivocal tonal design, is followed by the well-known “little” fugue in four parts for organ in G
minor. With its ringing fugal subject and clear counterpoint, it has often been cited as an exemplary model
of contrapuntal procedures. This particular work lies well within the range of the guitars’s richest registers.
The final work of the three, the Allegro last movement of the Third Brandenburg Concerto in G major is a
spirited and ingenious treatment of the solos and tutti especially as it was composed only for strings.
In 1599, Thomas Morley published a collection of pieces, the “First Booke of Consort Lessons,”
making available a supply of music for 16 th -century English amateurs playing in instrumental groups of
from 2 to 8 players, either in “broken” consorts for mixed instrumentation or for whole consorts with
instruments all from the same family. This program’s selection features pieces for both kinds of groups.
The term, “lessons,” simply meant “pieces,” with no particular didactic purpose.
The first, “My Lord of Oxenford’s Maske” (attributed to the great English composer, William Byrd) is
march-like, its unaffectedly plain harmonies in massed chords provides strong backgrounds for the
elaborate trumpet-like flourishes. It might have been destined for a theatrical-type of entertainment
useful for amateur home performance. The two galliards are 1 b^-century dances in compound meter (6/
8) spiced with hemiolas-temporary shifts between duple and triple time. The pavin (pavanne) is another
16 th -century court dance, this one of Italian origin, the “response” in the title probably referring to
“echoing among the instruments,” that is, some sort of imitative or canonic relationships between the
parts. The last selection, “Joyne Hands,” is an arrangement, probably by Morley, himself, of one of his
own cazonettes. The intricate rhythms moving in a 4/4 meter (counting 8 th notes) to a 3+3+2 meter (still
counting 8 th notes) give a lovely lilt to the rhythmic character of the piece.
Of the two composer-transcriptions-by Liszt and Aaron Copland-that provide special color in the program,
Liszt’s early Hungarian Rhapsody, No. 2, is likely the more famous, though the local color and rhythmic
vitality of Mexican music will no doubt seem familiar-it’s classic Copland.
Originally for piano, Liszt s Rhapsody dazzles by turns as over- dr awn “exotic” gestures harboring a vestige
of vulgarity alternate with ultra-delicate and extremely fast runs bordering on what seems to be humanly
impossible. It will be interesting to hear what kind of transformation will result from a transcription for
guitars of a work that was devoted to the virtuosic exploration of the strongly-built modem piano (with its
cast-iron frame and many strings under high tension) with which Liszt endeavored to challenge the hegemony
of the early 19 th -century orchestra.
Copland’s Three Latin-American Sketches from 1968 were originally for chamber orchestra. The second
and third contrasting movements, the “Paisaje Mexicano” (Mexican Landscape)-”soft and sad”-and the
lively and fast” “Danza de Jalisco,” with its quickly alternating rhythms of 2 and 3 (6/8 and 3/4) make a
nice pair. A quick glance at the score reveals plenty of fast and syncopated accentuation and pyrotechnical
ornamentation, key shifts and texture trade-offs.
La the most extended work until last, LAGQ has programmed a transcription of Manuel de Falla’s
Lstral version of his ballet score from 1914. Falla (1876-1946) built his reputation as a Spanish composer
[capitalizing on his nationality. Although a student of the early Spanish musicologist, Felipe Pedrell,
{|a was no folklorist; rather, he created an imaginary folk art from the rhythms and sonority of his native
L transmitting it with French and Russian orchestration of the ^-early lO^-century. His music with
Livid popular imagination attracted international recognition.
Falla composed El Amor Brujo (The love sorcerer) in 1914-15 as a “gitaneria” that incorporated
li-inspired dancing, speaking and singing from the stage with a scenario based on gypsy life. (If you can
fagine, the ballerina was to sing Andalucian cante jondo from the stage! Today it is sung from the
chestra pit.) Despite the popularity of the Ritual fire dance, once a show piece frequently performed by
id-20th century pianists, El Amor Brujo is quite unfamiliar, as a whole. The titles of the segments and the
(jsical impressions imply a scenario:
Introduction and setting - flashes of flamenco character: strong melodic phrases punctuated by
pungent chords
Night in the cave - brooding motives intensify, a low melody pregnant with expectation is broken
briefly with a pensive tune
Song of suffering love - dramatic, passionate melodic octaves over intense accompaniment: slow
chords transition to next section,
The apparition - Dance of terror - fast, swirling, dervish-like repetitious melodies
The magic circle - an enigmatic tune with simple chorale-like harmonizations
At midnight - a striking clock
Ritual fire-dance - gypsy tunes over swirls of trilling accompaniment evoke a pagan ritual; intensity
builds until final chords
Scene - the atmosphere changes: mysterious and threatening by turns
Song of the conceited fire - contrasting tunes alternate; delicate accompaniment and rolling rhythmic
patterns
Pantomime - several distinct sections in the spirit of remembering; each one a tuneful souvenir of
Andalucia
Dance of the love-game - playful, teasing and yet serious enticement to join in the play
The bells of dawn - pealing bells bring the morning light, illuminating a fresh new scene
Program Notes by Jean Christensen
Pre-Concert Lecture
2:00 P.M.
Malcolm Bird Recital Hall
School of
music
UMTVERSIIYoJ I OULSVILLB
dare to be great
University of Louisville Trumpet Ensemble
Michael Tunnell, Director
Reese Land, Assistant Director
Reid Tanouye, Assistant Director
John Bryant, Assistant Director
Reese Land, Guest Artist
Sunday, November 19
7:30 p.m.
Comstock Hall
Concert Piece
Bruce Broughton (b. 1945)
Suite for Six Trumpets
Presto
Dennis L. Horton
Suite for Five Trumpets
Finale
Reese Land, Conductor
Ronald Lo Presti (b.1933)
Suite for 6 Trumpets
Maestoso
Chorale
Finale
Anthony Plog (b. 1947)
Lumen
Frederick Speck (b. 1955)
Concert Fanfare
Reid Tanouye, Conductor
Eric Ewazen (b. 1954)
Intermission
Ave Maria (Angclus Domini)
John Bryant, Conductor
Franz Biebl (1906-2001)
Arr. John H. Bryant
Canzon
Samuel Scheidt (1587-1654)
Sonata no. 1 in F
Allegro
Grave
Allgero
Reese Land, soloist
Pietro Baldassare (16907-1768?)
Arr. Gordon Mathie
Congralulamini Mihi
Giovanni Palestrina (1525-1594)
Arr. Mel Broiles
Trio for Jimmie Stamp
Stanley Friedman (b. 1951)
There’s a Great Day Coming
Will Thompson (1847-1909)
Arr. Terry R. Everson
The University of Louisville Trumpet Ensemble has performed at the following International Trumpet
Guild Conferences: 1991 (Baton Rouge, Louisiana); 1994 (Champaign, Illinois); and 199S (Lexington.
Kentucky) and at the 1995 Summit Brassfest in Bloomington, Indiana. In May, 2000, the group performed
new works by Steve Rouse and Marc Satterwhite at the International Trumpet Guild Conference in
Purchase, NY.In November, 2000, The UofL Trumpet Ensemble was featured in the UofL New Music-
Festival. The University of Louisville Trumpet Ensemble competes regularly at the National Trumpet
Competition and won First Prize in the Ensemble Division of the 1999 National Trumpet Competition.
The competition was held at George Mason University in Fairfax, Virginia on March 19, 1999. In 2002,
the University of Louisville Trumpet Ensemble placed 2nd in the National Trumpet Competition.
Michael Tunnell has been Professor of Trumpet at the University of Louisville School of Music since
1988 where he performs with Louisville Brass and conducts the Trumpet Ensemble. The University of
Louisville awarded Tunnell the Distinguished Teaching Award in 2003. Tunnell performs as Principal
Trumpet and Principal Como da Caccia with the Louisville Bach Society and as Auxiliary Trumpet with
the Louisville Orchestra. A founding member of the brass quintet Sonus Brass, Tunnell has toured the Far
East and South America with this group and as a soloist. He also is a founding member of the Derby City
Brass Band. In addition, he is featured on the Mark Records CD Sonus Brass Captured and the Centaur
CD Louisville Brass: Season to Dance as well as five solo recordings: Mixed Doubles, Melancholia, and
Lumen, on the Coronet label, and Passages and The Morning Trumpet on the Centaur label. He can also
be heard on the Sinfonia da Camera of Illinois recording of the Saint-Saens Septet and on numerous
Louisville Orchestra First Edition recordings. Tunnell is a former member of the music faculties of the
University of Southern Mississippi, SUNY-Potsdam College, the University of Illinois and the New
England Music Camp. Tunnell is a member of the International Trumpet Guild Board of Directors, and lie-
served as an editor for the ITG Journal from 1978-2000. In the summer of 1999 Tunnell was a featured
artist at Lieksa Brass Week in Lieksa, Finland, and in July, 2001 he was a Visiting Professor al the
Catholic University of Chile in Santiago. He serves on the Artist Faculty of the National Trumpet
Competition and is an artist-clinician for Kanstul Trumpets. Tunnell's degrees are from the University of
Tennessee (Bachelor of Music, 1976), The University of Louisville (Master of Music, 1978), and the
University of Southern Mississippi (Doctor of Musical Arts, 1982). His teachers include Leon Rapier,
Allan Cox, Arnold Jacobs, Adolph Herseth and Armando Ghitalla. His students hold positions in
prominent colleges and orchestras, and they have enjoyed great success in numerous solo competitions
both in the United States and in Europe.
Trumpet artist, Reese Land is a member ofThe Brass Company. From 2005-2006 he was Visiting
Assistant Professor of Trumpet at the University of Southern Mississippi. In the past. Land served on the
faculties of the University of Louisville and Campbellsville University. He received his Bachelor of Arts
degree from Lenoir-Rhyne College, his Master of Music degree from the University of Louisville, and is
completing his Doctor of Musical Arts degree from the University of Illinois.
Personnel
John Bryant
Charles Calloway
Austin Coldiron
Reese Land
Melissa McDaniel
Todd Obidowski
Danny Peterson
Zack Schell
Michael Swope
Reid Tanouye
Gabe Wartman
Daniel Whaley
music
IMVERSITYof LOUISVILLE.
dare to be great
presents
Student
Recital
Nick Wooldridge,
double bass
Student of Sidney King
with
David George, piano
Sunday Evening
November 19, 2006
7:00 p.m.
Malcolm Bird Recital Hall
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this afternoon.
Smoking is not permitted in the School of Music building.
In the unlikely event of fire or other emergency, please walk to the nearest exit.
The use of recording devices and flash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
PROGRAM
Sonata in G minor
Adagio
Vivace
Grave
Allegro
Georg Phillip Telemann
(1681-1767)
Trois evocations finlandaises Richard Dubugnon
for solo Double Bass (b. 1968)
Menuet carelien
Hamara
Dithyrambe
Concerto for Double Bass Serge Koussevitsky
Allegro (1874-1951)
Andante
Allegro
Sonata "1963" FrankProto
Slow and peaceful (b-1941)
Moderate 4 - Swing
Molto Adagio
Allegro energico
The University of Louisville
School of Music
presents the
Cardinal Singers
Kent Hatteberg, Conductor
Margaret Comstock Concert Hall
Monday Evening
November 20,2006
8:00 P.M.
Smoking is not permitted in the School of Music Building. In the unlikely event offire or
other emergency, please walk - not run - to the nearest exit. The use of recording devices
is strictly prohibited. Please silence electronic watches, phones, and pagers.
WOMEN OF THE CARDINAL SINGERS
Prelude for Women's Voices
Kelly Ballou, soprano
Und gehst du uber den Kirchhof
(from Zwolf Lieder und Romanzen, Op. 44)
Jaakobin pojat
Emily Malone, mezzo soprano
William Schuman
(1910-1992)
Johannes Brahms
(1833 - 1897)
Pekka Kostiainen
(b. 1944)
Lauiikulapsepoli VeljoTormis
(b. 1930)
Amy Parker Cuenca, Emily Malone, Emily Neubauer, soloists
Sednalo e Djore Dos Stefan Mutafchiev
(1942-1995)
Amanda Bryant, Erin Keesy, soloists
CARDINAL SINGERS
Sanctus (from Missa pro defunct is ) Tomas Luis de Victoria
(1548-1611)
Der 43ste Psalm: Richte mich, Gott (Op. 78, No. 2) Felix Mendelssohn
(1809- 1847)
Peteris Vasks
(b. 1946)
Einojuhani Rautavaara
(b. 1928)
Litene
Litene 1
INTERMISSION
WOMEN OF THE CARDINAL SINGERS
Duo Seraphim clamabant Tomas Luis de Victoria
(1548-1611)
Blagoslovi,dushemoya,Ghospoda Pavel Chesnokov
(1877-1944)
Tota pulchra est (Quatre Motets) Maurice Durufle
(1902-1986)
Ave Maria William Hawley
(b.1962)
Will the Circle be Unbroken arr. J. David Moore
(b.1962)
CARDINAL SINGERS
All the Things You Are
Jerome Kern
(1885-1945)
arr. Ward Swingle
(b. 1927)
Loriak Udan
David Azurza
(b. 1968)
Neure maitena
Christopher Shortt, baritone
Ignacio Mocoroa
' (1902-1979)
Ride the Chariot
Mary Beth Harris, soloist
arr. Moses Hogan
(1957-2003)
Country Dances
arr. Ward Swingle
Cardinal Singers
Kent Hatteberg, director
Soprano I
Tenorl
Amanda Tarryn Bryant
Bill Coleman
HuifangChen
Joshua Hein
Hilary Hilliard
Kevin Sproul
Alexis Paxton
Walter Jay Wollmann
SopranoII
Tenorll
Kelly Ballou
Rob Carlson
Alane Hart
Josh Hamilton
Amy Parker Cuenca
William Thomas Mills II
Erin Keesy
Seung Yong Shin
Alto I
Bass I
Kristin Hale
James R. Cooper
Amanda Harless
Peter A. Lovett
Emily Malone
Phillip Morgan
Hyun Jung Ji
AltoII
Benjamin Powell
Christopher Shortt
Mary Beth Harris
Bass II
Emily Neubauer
Austin H. Echols, Jr.
Carlisle Schoner
Brett McDermid
Tamara Stewart
Ben Riley
Barrett Smith
UpcomingChoralEvents
Dec. 3,2006: Cardinal Singers- WUOLChristmas Extravaganza,
St. Martin of Tours Church-3:00 P.M.
Dec. 9,2006: Cardinal Singers - GLMTA Christmas soiree
January 7-8,2007: HonorChoir Festival
January 19-20,2007: The Lord of the Rings Symphony w/Louisville Orchestra
January 27,2007: All-State Rehearsal Clinic
February 7-8,2007: All-Collegiate Choir- KMEA
February 16,2007: ComstockChamberChoir Competition
February 25,2007: University Chorus, Chorale, Cardinal Singers, 7:30 P.M.
March 7-10,2007: ACDANational Convention, Miami, FL
March 23,2007: Collegiate Chorale and Choral Arts Society, 3:00 P.M.
April 16,2007: University Chorus, Cardinal Singers, Collegiate Chorale, 8:00 P.M.
Seun Yong Shin, graduate conducting recital
University of Louisville
Cardinal Singers
Monday, November 20, 2006
Texts, Translations, and Notes
Tonight s performance by the Cardinal Singers and the Women of the Cardinal Singers includes some of the
repertoire performed in competition at the Tolosa Choral Contest in Tolosa, Spain earlier this month. The
Women of the Cardinal Singers entered the categories of Vocal Groups Modality I: Sacred Music and Vocal
Groups Modality II: Profane Music, receiving third prize in both. The full ensemble entered the categories of
Mixed Voices Modality I: Basque Song and Folklore, where they received third prize, and Mixed Voices
Modality II: Polyphony. In addition, the Singers performed full concerts in Tolosa and surrounding cities.
Prelude for Women’s Voices William Schuman
William Schuman received his bachelor’s and master’s degrees at Teacher’s College of Columbia University. He
studied composition at the Juilliard School of Music with Roy Harris, who brought his compositions to the
attention of Aaron Copland and Serge Koussevitzky, music director of the Boston Symphony. Schuman taught
music at Sarah Lawrence College (1935-45), then became director of publications at G. Schirmer, Inc (1945-52).
He served as President of the Juilliard School from 1945 to 1962, and was president of the Lincoln Center for the
Performing Arts from 1962 to 1969, where he championed the commissioning and performance of works by
American composers. He has received numerous honors and awards, including two Guggenheim fellowships,
two Pulitzer Prizes (including the first Pulitzer Prize in music), and the National Medal of Arts.
Prelude for Women’s Voices was composed in 1939 for the women’s choir Schuman conducted at Sarah
Lawrence College. The text is from Thomas Wolfe’s novel Look Homeward, Angel , published in 1929.
...a stone, a leaf, an unfound door; of a stone, a leaf, a door. And of all the forgotten faces.
Naked and alone we came into exile. In her dark womb we did not blow our mother's face; from
the prison of her flesh have we come into the unspeakable and incommunicable prison of this earth.
Which of us has known his brother? Which of us has looked into his father's heart? Which of us
has not remainedforever prison-pent? Which of us is not forever a stranger and alone?
O waste of loss, in the hot mazes, lost, among bright stars on this most weary unbright cinder,
lost! Remembering speechlessly we seek the great forgotten language, the lost lane-end into heaven,
a stone, a leaf, an unfound door. Where? When? (Thomas Wolfe)
UND GEHST DU UBER DEN KlRCHHOF JOHANNES BRAHMS
Brahms settled in Hamburg in 1859, where he founded a women’s choir. In the next three years Brahms
composed Opus 37 (Three Sacred Choruses for women’s voices) and probably most of the songs of Opus 44
(Twelve Songs und Romances for women’s voices), although Opus 44 was not published until 1866. He also
composed a large number of a cappella choral works for mixed voices, including Opus 22 ( Marienlieder ), Opus
29 ( Es ist das Heil uns kommen her and Schlafe in mir, Gott ), and Opus 42 ( Abendstdndchen , Vineta, and
Darthulas Grabesgesang), as well as Opus 41 (Five Songs) for male chorus. He then turned his attention to the
composition of choral works with orchestra, and the next few years saw completion of Ein deutsches Requiem, the
cantata Rinaldo , the Alto Rhapsody, Schicksalslied, and Triumphlied.
Und gehst du uber den Kirchhofis the tenth song in the set of twelve songs from Opus 44. Four of the songs
employ texts from Der Jungbrunnen by Paul Heyse.
1
Und gehst du iiber den Kirchhof
da findesl du ein frisches Grab;
da senkten sie mit Trdnen
ein schones Here hinab.
Undfragst du, woran's gestorben,
kein Grabstein Antwort gibt;
doch leise fliistern die Winde,
es hatte zu he if geliebt.
(from Paul Heyse: Der Jungbrunnen)
JAAKOBIN POJAT
If you go through the churchyard
you will find a newly dug grave;
there, amid tears,
a faithfiil heart wot laid.
And if you ask of what it died,
no gravestone gives the answer;
but the winds softly whisper,
"It loved too well. ”
Pekka Kostiainen
Finnish composer Pekka Kostiainen studied at the Sibelius Academy, qualifying as a church musician in 1968 and
receiving his composition diploma as a student of Jouko Tolonen in 1973. He was cantor-organist of Pohja
Finnish Church from 1969 to 1971 and has been lecturer in music at the University of Jyvaskyla since 1971. In
1977 he founded the Musica choir at the University and has been its leader ever since. He has also led the Vox
Aurea children’s choir since 1994. He is a Doctor of the Jyvaskyla University (2004).
Kostiainen has received numerous awards and honors, including the Arts Prize of Central Finland (1979), the
Kalevala scholarship from the Kordelin Foundation (1984), a cultural grant from the Mitt-Norden kommitten
(1989), the Klemetti Prize of the Finnish Amateur Musicians’ Association (Sulasol) (1990), and the AGEC
Composition Prize (Die Goldene Stimmgabel), (1995). He has been a working member of the Kalevala Society
since 1988.
Kostiainen’s sense of musical humor is evident in the treatment of the text in Jaakobin pojat (Jacob’s Sons),
which runs through the list of the sons’ names in Sprechgesang, whispers, glissandos, extremely high or low
sounds of indefinite pitch, and exploitation of the spatial dimension.
(Notes about Jaakobin pojat from Kimmo Korhonen (1998), translated by Susan Sinisalo)
Ruuben, Simeon, Leevi, Juuda,
Daan, Naftal, Gaad, Asser,
Isaskar, Sebulon, Joosef ja Benjamin.
Jaakobin poikia.
Reuben, Simeon, Levi, Judah,
Dan, Napthali, Gad, Asher,
Issachar, Zebulon, Joseph, and Benjamin.
The sons of Jacob.
Lauliku lapsepoli Veljo Tormis
Veljo Tormis was born in Kuusalu, near the capital of Tallinn. He studied organ, choral conducting, and
composition in Tallinn before receiving a degree in composition from the Moscow Conservatory. Tormis was
influenced initially by outstanding compsers of the preceding generation (Tubin, Saar, and Kreek) who used folk
melodies as material for thematic development in the traditional classical compositional style. His compositional
epiphany occurred with the composing of Estonian Calendar Songs, when, as Tormis says, he “attempted to
preserve the authenticity of the source material — the ancient Estonian [regilaul] song — in choral settings, avoiding
any arrangements or harmonizations after European canons.” Tormis supports the original regilaul in text, tune,
and structure while fusing it with a late 20' 1 ' century musical framing. As he has stated on a number of occasions,
1 don t use folksong; folksong uses me.” By using the hallmarks of Estonian culture — the language and the
regilaul - as his compositional materials, Tormis carries forward the country’s ancient traditions into the next
millennium.
Originally composed in 1966, Lauliku lapsepoli became part of a larger five-song set in 1971 entitled Laulud
aulust ja laulikust/Songs of Singing and the Songster. In the midst of Soviet occupation and suppression of
? n ^ an ? u expression, Tormis created this set and dedicated each movement to a folklorist colleague who,
folklo* 'To ^ r ' 0 ^’_ SU PP 0r t e ^ his emphasis of regilaul-based composition. Lauliju lapseppoli is dedicated to
the milt - tTl IS ,■ ° na ’ one °f the compilers of the Anthology of Estonian Traditional Music, which was one of
me country s earliest collections of its national regilaul.
(Note by Dr. Marian E. Dolan)
Kui ma ol’li vaikokdnd, al’leaa,
kas ’vi ma sis kaunikond, al’leaa,
ol 7/ iite ini vannu, al ’/eaa,
pcidle kato pddvd vannu,
ima vei kiigu kesd paale,
pan 'de hallii palo paale,
pan 'de par ’dsi hdlliitdmmd,
suvolinnu liigutamma.
Par 'dsi/ ol ’le pal 'lo sonnu
suvdlinnul liia ’ laalu ’
part 'ts saal man mill pal 'lo lauli
suvolindu liiast konoli.
Saalt mina lat 's sis laulu ’ ope
ul 'Iikon o son a ’ osasi,
koik mina pan 'ni paporihe,
koik mina raid raamatuhe.
Selle minolpal'lo sonnu,
selle laajalt laaluviisi.
(Translation provided by Dr.
Sednalo e Djore Dos
When I was very little, al ’leaa,
I grew so prettily, al’leaaa,
I was but one night old, al 'leaa,
just two days old,
mother took my cradle to the meadow,
put my crib on the heath,
put a duck to rock the cradle,
the bird of summer to push me.
The duck had many words,
the bird of summer had lots of songs,
the duck sang many songs to me there,
the bird of summer, it spoke to me a lot.
That is where this child learned the songs,
this crazy one [got to] know the words,
all of them I placed on paper,
all of them I hewed into a book.
That is why I have so many words,
that is why I have lots of tunes.
Murk (PhD, Finno-Ugric Studies, Indiana University)
Stefan Mutafchiev
Harri
Stefan Mutafchiev completed his musical studies at the State Academy of Music in Sofia, in musical pedagogy,
and also studied composition with Veselin Stoianov and Parashkev Hadjiev. Soon after his graduation he was
appointed music director of the newly established "Trakia" Ensemble for Folk Song and Dance (Plovdiv). He
taught at the Musical Academy in Plovdiv, where he specialized in folk instruments and folk-singing. Since 1983
he was principal director of the Ensemble for Folk Song at Bulgarian National Radio until his premature death.
Stefan Mutafchiev was active in many diverse aspects of musical life. He is best known, however, as an arranger
of Bulgarian folk songs and dances, for which he received numerous awards, including one from Radio Bratislava.
Sednalo e Djore dos,
Sednalo e Djore!
Ti, ludo Djore dos,
ti mi ludo Djore!
Vwnka na vartitsi dos,
vwnka na vartitsi
Sharen chorap plete dos,
sharen chorap plete
Yotdol ide devoyche,
ta na Djore veli:
“Shto rabotish tuke dos,
shto rabotish tuke?”
[Speech] “Sharen chorap pleta dos,
sharen chorap pleta.”
“Komu che go dadesh dos,
komu che go dadesh?”
“Koyto mene zeme dos,
koyto mene zeme,
nemu che go yodam.”
[Parlando]:. .. (Nonsense)
“Ya chu tebe zema dos,
ya chu tebe zema.”
“Tebe che go yodam dos,
tebe che go yodam!” Giore!!
George is sitting, eh!
George is sitting
You my silly George, eh!
You my silly George!
Out in front of the house, eh,
out in front of the house
he knits a motley sock, eh,
he knits a motley sock.
A maiden comes down there
and says to George:
“What are you doing here, eh?
What are you doing?”
[Speech] “I knit a motley sock, eh,
1 knit a motley sock.”
“To whom are you giving it, eh?
To whom are you giving it?”
“Whoever takes [marries] me, eh,
whoever takes me,
to her will I give it.”
[Parlando] ... (Nonsense)
“I will take you, eh,
I will take you.”
“Then I will give it to you, eh,
I will give it to you!” Giore!!
3
SANCTUS (Missa pro defunctis)
Tomas Luis de Victoria
Spanish Renaissance composer Tomas Luis de Victoria was born in Avila, and when his voice broke, he was sent
to Rome to study at the Jesuit Collegium Germanicum. He was ordained as a priest in 1575. He composed two
requiem masses: the Missa pro defunctis for four voices, composed in 1583, and his last work, the Missa pro
defunctis for six voices. The latter, composed in 1605 for the king of Spain’s sister Empress Maria (for whom
Victoria had served as chaplain for some sixteen years), is considered his masterpiece.
Sanctus, sanctus, sanctus Holy, holy, holy.
Dominus Deus Sabbaoth. Lord God of Sabaoth.
Pleni sunt coeli et terra Gloria tua. Heaven and earth are full of Thy glory.
Osanna in excelsis! Hosanna in the highest!
Der 43ste Psalm: Richte mich, Gott
Felix Mendelssohn
Psalm 43 (Richte mich, Gott) is from a set of three a cappella Psalm settings composed between 1843 and 1844.
This work features antiphonal singing between men’s and women’s voices. They unite in a rich eight-part texture
at the text “Sende dein Licht” (“send out thy light”). The closing motif, set in D major on the text “Was betrubst
du dich, meine Seele...,” employs the same theme that Mendelssohn used in the fourth and seventh movements of
his setting of Psalm 42 for chorus and orchestra. The three Psalm settings of Opus 78, including Psalms 2 and 22,
are considered some of Mendelssohn’s finest a cappella writing.
Richte mich, Gott,und ftihre meine Sache
wider das unheilige Volk, und errette mich
von den falschen und bosen Leuten.
Denn du bist der Gott meiner Starke;
warum verstossest du mich?
Warum lassest du mich so traurig geh’n,
wenn mein Feind mich drangt?
Sende dein Licht und deine Wahrheit,
dass sie mich leiten zu deinem heiligen Berge,
und zu deiner Wohnung.
Dass ich hineingehe zum Altar Gottes,
zu dem Gott, der meine Freude und Wonne ist,
und dir, Gott, auf der Harfe danke,
mein Gott.
Was betrubst du dich, meine Seele,
und bist so unruhig in mir?
Harre auf Gott! Harre auf Gott!
denn ich werde ihm noch danken,
dass er meines Angesichts Hiilfe,
und mein Gott ist.
Judge me, O God, and plead my cause
against an ungodly nation: and deliver me
from the deceitful and unjust people.
For thou art the God of my strength,
why dost thou cast me off?
Why do you let me go mourning,
because of the oppression of the enemy?
Send out thy light and thy truth,
that they may lead me unto thy holy hill,
and to thy dwelling place.
Then I will go unto the altar of God,
unto God, who is my exceeding joy and victory,
and you, God, upon the harp will I praise thee,
My God.
Why art thou cast down, O my soul,
and why art thou disquieted within me?
Hope in God! Hope in God!
for I shall yet praise him,
who the health of my countenance,
and my God is.
Litene I (Litene)
Peteris Vasks
eteris Vasks was bom in Aizpute, Latvia. He attended the Riga Music Academy
Academy in Vilnius where he studied double-bass with Vitautas Sereika. From
composition with Valenzius Utkin at the Latvian Academy of Music in Riga. From
m er °f various symphony and chamber orchestras.
and the Lithuanian Music
1973 to 1978 he studied
1963 to 1974 Vasks was a
awarded the Lah/^fr ^°! nt ^. ^l a ' n Composer of the Stockholm Festival of New Music. In 1998 he was
the Latvian Mus.c Prize for his Violin Concerto -‘Distant Light.” Since 1994 he has been an honorary
4
member of the Latvian Academy of Sciences. In 2001 he was offered membership in the Royal Swedish
Academy of Music founded by King Gustav III in Stockholm in 1771. He currently lives in Riga as a freelance
composer.
As Vasks notes in the score:
The ballad Litene for twelve-part chorus was composed in 1993. Litene is the name of a little village in a
densely wooded region of Latvia; at the time of national independence, there was a summer camp of the
Latvian army in Litene.
Litene became a known symbol in the summer of 1941, the “year of terror” of the Soviet occupation. For
it was Litene where most Latvian officers were arrested. Part of them were shot on the spot, the others
were deported to Siberia where nearly all of them died.
The ballad consists of two parts, the first being static, the second being active and aggressive. This
composition is based on aleatory music and other special musical means which I thought suitable to tell
about the never-healing wounds of my people.
(Notes on Litene by Peteris Vasks, 1995)
What the mole-cricket chirrs about
What the earthworm digs up quietly
Caks breathed into his palm
and into lacquer
Those unsaid words come into my ear,
droning like in a well
Oh, Litene! You liar!
Oh, the horrible treachery!
(Uldis Berzins)
Ko zemesvezis caka
Ko slieka klusu raka
Caks izelpoja delna
Un iedvasoja laka
Tie nepateiktie vardi
Nak ausl, dun ka aka
O, Litene! O, mele!
O, nodevlba traka
LaHTO ErNOJUHANI Rautavaara
Finnish composer Einojuhani Rautavaara was born in Helsinki in 1928. He studied composition at the Sibelius
Academy in Helsinki and musicology at the University of Helsinki. He received a Sibelius grant from the
Koussevitzky Foundation to come to the United States, where he studied composition at the Juilliard School of
Music with Vincent Persichetti and at the Tanglewood Music Center, where he studied with Roger Sessions and
Aaron Copland.
Rautavaara taught at the Sibelius Academy from 1957 to 1959, and again from 1966 to 1990. Fie has been a
member of the Swedish Royal Academy of Music since 1975. His composition awards include, among others,
the Camden Composition Contest in London in 1966 (String Quartet No. 3), the Sibelius Violin Competition
composition competition in 1970 ( Dithyrambos ) and again in 1975 ( Varietude ), the Finlandia National Opera
composition competition in 1971 ( Kiusaukset; Temptations ), and the Scandinavian choral competition
composition in 1975 {Hammarskjold Fragment). His numerous recording awards include a Grammy Nomination
in 1997 for his Symphony No. 7, {Angel of Light) and a Gramophone nomination in 1998.
Lcihtd (Departure) was composed in 1975 as a compulsory test for choral competitions. Over an ostinato intended
to portray the clatter of horses hooves, brilliant chords, mostly in parallel motion, signal the release and freedom
found in riding the golden steed of Toivo Pekkanen’s poem.
(Curriculum vita provided by Fennica Gehrman)
5
Jonakin aamuna, jonakin kevataamuna
auringon kohotessa taivaalle
nousen ratsuni selkaan.
Ruumiini nukkuu,
henkeni ei kuule askeleitani eika
hevoseni kavioitten riemuitsevaa tominaa.
Ratsun selkaan nousee
ahdistettu, piinattu,
tuhat kertaa rangaistu,
mutta murtumaton,
ikuisesti elava.
Mina yksin tiedan taman aamun
salaisuuden.
Minun kutsuani yksin
hevosene tottelee.
Mina yksin naen lunastuksen tien.
Siis ylpeaanjuoksuun,
uskoni kultainen ratsu.
Vain hetken kumisevat
kaviot kattojen ylla.
Olen jo kaukana, vapautettu.
(Toivo Pekkanen)
One morning, one spring morning,
the sun rising into the sky,
1 mount my steed.
My body sleeps, my spirit hears not my
my step
nor the jubilant clatter of my horse's hooves.
Mounting the horse is an anguished,
tormented soul,
a thousand times punished
yet invincible,
immortal.
1 alone know the secret this morning
holds,
mine alone is the command
the horse obeys.
1 alone see the path to redemption.
Gallop with pride, then,
golden steed of my faith!
For a mere moment will these hooves be
heard over the rooftops.
Soon I am far off, and free.
Duo Seraphim Clamabant Tomas Luis de Victoria
Duo Seraphim clamabant was composed in 1583 for the choirboys at S. Girolama della Carita in Rome. Victoria
employs imitation and text painting, such as his use of two voices to portray “Two angels cry aloud unto each
other,” and the use of three voices for the text “Three which hear testimony in heaven.” To unite Father, Word
and Holy Spirit in the text “all these three are one,” he changes prolation to tempus perfectum (triple meter),
where three notes fit in the time of one beat in the previous tempo.
Duo Seraphim clamabant alter ad alterum:
Sanctus Dominus Deus Sabaoth.
Plena est omnis terra gloria ejus,
Tres sunt, qui testimonium dant in coelo.
Pater er Verbum, et Spiritus sanctus;
et hi tres unum sunt.
Two angels cry aloud unto each other:
Holy, Lord God of Sabaoth.
All the world is full of His glory,
Three which hear testimony in heaven,
Father, Word and Holy Spirit;
And all these three are one.
BLAGOSLOVI, DUSHE MOYA GHOSPODA
Pavel Chesnokov
Pavel Chesnokov was a Russian choral conductor, teacher, and composer trained at the Moscow Conservatory.
He was principal conductor of the Moscow State Choir from 1917 to 1922 and professor of choral conducting at
the Moscow Conservatory from 1920 to 1944. His output is entirely choral works, mostly on sacred texts.
Blagoslovi, dushe moya Ghospoda,
blagosloven yesti, Ghospodi.
Ghospodi Bozhe moy, vozvelichilsia yes! zelo
Blagosloven yesi, Ghospodi.
Fsia premudrostiyu sotvoril yesi.
Slava Ti, Ghospod'i, sotvorivshemu fsia,
Bless the Lord, O my soul,
blessed art Thou, O Lord.
O Lord my God, Thou art very great.
Blessed art Thou, O Lord.
In wisdom hast Thou made all things.
Glory to Thee, O Lord, who hast created all!
6
TOTA PULCHRA ES
Maurice Durufle
French organist and composer Maurice Durufle studied at the Paris Conservatory, where he took organ lessons
with Eugene Gigout and studied composition with Paul Dukas. He served as professor of harmony at the Paris
Conservatory from 194 j to 1969. His compositions are mainly works for organ and sacred choral pieces. The
four motets of Opus 10, composed in 1960, are all based on Gregorian chant themes. Tota pulchra es is the only
one set women’s voices.
Tota pulchra es, Maria,
et macula originalis non est in te.
Vestimentum tuum candidum quasi nix,
et facies tua sicut sol.
Tu Gloria Jerusalem, tu laetitia Israel,
tu honorificentia populi nostri.
Thou art all fair, Mary,
and the stain of original sin is not in thee.
Your vestments are as white as snow,
and your face is like the sun.
Thou art the glory of Jerusalem, the joy of Israel,
and the honor of our people.
Ave Maria
William Hawley
William Hawley’s works have been heard in London, Tokyo, Paris, the Netherlands, Berlin, Darmstadt, Munich,
Los Angeles, San Francisco, Seattle, Minneapolis, and other cities in the United States, Europe, and Asia, as well
as in the concert halls of New York, where he makes his home with his wife, Jyoti.
Hawley studied at the Ithaca College School of Music and the California Institute of the Arts, where he received
his BFA in 1974 and his MFA in 1976. Beginning his creative life primarily as an instrumental composer, he
gradually found his work assuming a deeper expression in the realm of vocal music. He has received numerous
commissions and has composed works premiered by Chanticleer, the New London Singers, the Alexandria Choral
Society, and the Vocal Arts Ensemble of Cincinnati. Flos lit Rosa Floruit, premiered at the 2005 Florilege Vocal
de Tours by the University of Utah Singers, won the prize for a First Production Work.
Current projects include the premiere performances of his Hymn to Aphrodite (The Esoterics); Alma Redemptoris
Mater (St. Mary’s College Women’s Choir); and The Cloths of Heaven (The University of Utah Singers); the
composition of new works for Singer Pur and The South Bend Chamber Singers; and a new Requiem,
commissioned by San Francisco’s St. Dominic’s Catholic Church.
Ave Maria was commissioned by the Saint Mary’s College Women’s Choir in Notre Dame, Indiana (Dr. Nancy
Menk, conductor).
Ave Maria, gratia plena:
Dominus tecum,
benedicta tu in mulieribus,
et benedictus fructus ventris tui, Jesus.
Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae. Amen.
Hail Mary, full of grace:
the Lord is with thee;
blessed art thou among women,
and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God,
pray for us sinners,
now and in the hour of our death. Amen.
Will the Circle Be Unbroken arr. J. David Moore
J. David Moore received a Bachelor’s degree in Composition from Florida State University School of Music and
a Master’s degree in Composition and Choral Conducting from the University of Cincinnati College-
Conservatory of Music. He has studied composition with Roy Johnson, John Boda, Darrell Handel, and Scott
Huston, and conducting with Andre Thomas, John Leman, and Earl Rivers. David has founded and directed two
professional a cappella ensembles: Cincinnati-based The Village Waytes and St. Paul's Dare To Breathe. An
active educator and clinician, David has coached vocal ensembles and served as composer-in-residence at
elementary, middle and high schools in Minnesota, Wisconsin, and Ohio. He is a two-time recipient of the
American Composers Forum's Faith Partners program, and has written a wide variety of music for worship,
concert halls, and dance for groups from elementary school to professional. He currently lives in St. Paul, MN.
7
All the Things You Are
Jerome Kern, arr. Ward Swingle
American composer Jerome Kern composed some 700 popular songs and more the 100 film and show scores. He
met Oscar Hammerstein II in 1925, and the two would collaborate on numerous scores over the next several
years. All the Things You Are was from the 1939 Broadway show Very Warm for May, which was to be Kern’s
last Broadway show.
Composer-arranger Ward Swingle graduated Summa Cum Laude from the Cincinnati Conservatory and studied
piano with the celebrated Walter Gieseking in postwar France. In Paris in the sixties he was a founding member
of the fabled Double Six of Paris, then took the scat singing idea and applied it to the works of Bach, hence The
Swingle Singers, whose early recordings won five Grammies.
When the Paris group disbanded in 1973, Ward Swingle moved to London and formed an English group,
expanding the repertoire to include classical and avant-garde works along with the scat and jazz vocal
arrangements. He has remained active as a guest conductor and clinician in the United States and abroad.
(Notes from the Ward Swingle official website)
Loriak Udan David Azurza
David Azurza was born 1968 in Tolosa, Spain. He began as a choral singer in 1983 in the Hodeiertz Choir of
Tolosa. Azurza later studied voice with Isabel Alvarez as a countertenor and received the title Profesor de Canto
(Professor of Voice) at the Conservatory Teresa Berganza in Madrid. He currently works as a countertenor,
choral director, and professor of voice and composition. Azurza’s compositional output centers on choral music,
especially music for youth choirs. His works have won numerous awards, including special prizes at the
International Choir Competition in Tolosa, Spain in 1993, 1998, and 2000. He is sought-after as an adjudicator
and speaker at choral and vocal conferences worldwide.
Loriak Udan takes its text from two verses of the Basque poem “Izazu nitzaz kupira” by Bilintx (1831-1876).
Azurza sets the text to the flowing and sensual rhythms of the habanera. Loriak Udan was the compulsory work
for the 38 th Tolosa Choral Contest in the category of Mixed Choirs: Folklore.
Loriak udan ihintza bezela
maite det dama gazte bat,
hari hainbeste nahi diyotanik
ez da munduban beste bat.
Inoiz edo behin pasatzen badet
ikusi gabe aste bat,
biyotz guztira banatutzen zait
halako gauza triste bat.
Nere betiko pentsamenduba,
nere kontsolagarriya,
zu gabetanik ezin bizi naiz,
esaten dizut egiya.
Zu bazinake arbola eta
ni baldin banintz txoriya,
nik zu zinaken arbol hartantxen
egingo nuke kabiya
(Bilintx (1831-1876))
As summer dew on flowers
I love a young girl,
there is none in the world
no other whom I love so much.
If sometimes I spend
a week without seeing her
throughout my heart
spreads a sad thing.
My eternal thought,
my relief,
I cannot live without you
I tell you the truth.
If you were a tree
and I a bird,
I would make a nest on that tree
that you are.
8
NEURE MA1TENA
Ignacio Mocoroa
Basque composer Ignacio Mocoroa was chosen to compose a compulsory work for the Tolosa 2002 choral
competition. As a result, he wrote Neure maitena in the Basque language. The Cardinal Singers chose to perform
this piece to fulfill the requirement of presenting a work of Popular Basque inspiration in this year’s contest.
Mocoroa uses a simple, flowing melodic line and lush harmonies in this setting of a popular Basque poem.
Neure maitena, aranbeltz,
ortza txuri, begi beltz.
Nik zu maite, zuk ni ez.
Kontzientzian karga daukazu
neure penoken oinazez.
Nik zu maite, zuk ni ez.
My darling, brown hair,
white teeth, black eyes.
I love you, you do not love me.
On your conscience you bear
the suffering of my sorrows.
I love you, you do not love me.
Ride the Chariot
arr. Moses Hogan
American musician Moses Hogan is best known as a composer and arranger of spirituals, although he began his
career as a concert pianist. He won first place in the prestigious 28' 1 ' annual Kosciuszko Foundation Chopin
Competition in New York. He studied at The New Orleans Center for Creative Arts, Oberlin Conservatory of
Music in Ohio, the Juilliard School in New York, and Louisiana State University in Baton Rouge. He founded
the internationally acclaimed Moses Hogan Chorale in 1993. In the final years of his life, he became increasingly
in-demand internationally as an arranger, conductor, and clinician. His contemporary settings of spirituals,
original compositions, and other works have been enthusiastically accepted by audiences around the globe. He
passed away in 2003 from a brain tumor.
Country Dances arr. Ward Swingle
Audiences familiar with the Swingle Singers will recognize features of their style in Country Dances, where
typical Swingle syllabification is used to link some of our best-known American folksongs. The overarching
story of a traveler who meets a loony fiddler man is interrupted with Swingle arrangements of “Uncle Joe,” “Hop
Up My Ladies,” “Polly Wolly Doodle,” “Little Liza Jane,” “Old Dan Tucker,” Turkey in the Straw,” “Yankee
Doodle,” “Dixie,” and “Buffalo Gals.” See how many you can recognize!
9
music
l^^RSnYoflDUKVILLE.
dare to be great
presents
Student
Recital
Sandra Duran,
piano
Student of Brenda Kee
Monday Evening
November 20, 2006
7:00 P.M.
Malcolm Bird Recital Hall
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this afternoon.
Smoking is not permitted in the School of Music building.
In the unlikely event of fire or other emergency, please walk to the nearest exit.
The use of recording devices and flash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
PROGRAM
Sonata in F Major
Moderate
- Adagio
Finale: Presto
Fantasiestiieke. Op. 12
3. Warum?
2. Aufschwung
— PAUSE —
Danzas Espanolas
2. Oriental
5. Andaluza
Sonatine
Modere
Mouvement de Menuet
Anime
Joseph Haydn
(1732-1809)
Robert Schumann
(1810-1856)
Enrique Granados
(1867-1916)
Maurice Ravel
(1875-1937)
This recital is given in partialfulfillmm t of the requirements for the
degree of Bachelor of Music.
IMVERSITYof IDUISVILLE.
-«** " --
dare to be great
presents
University
Symphonic Band
Frederick Speck, director
with guest conductor
Jon Rohner
Thursday Evening
November 21, 2006
8:00 P.M.
Margaret Comstock Concert Hall
Smoking is not permitted in the School of Music building. In the unlikely event of fire or other
emergency, please walk to the nearest exit. The use of recording devices and flash photography is
strictly prohibited. Please silence cell phones, electronic watches and pagers. Thank you.
PROGRAM
Jubilant Overture (1970)
Alfred Reed
(1921-2005)
"Sun Music"
Armand Russell
from Symphony in Three Images (1972)
(b. 1932)
Suite for Four Saxophones, Op. 11 (1993)
Lawson Lunde
I. Prelude
(b. 1935)
II. Five Tones
III. Eclogue
Amy Knight, Alex Verdoom,
George Flores and Trent Barrick,
saxophones
Nobles of the Mystic Shrine John Phillip Sousa
(1854-1932)
John Rohner, conductor
In partial fulfillment of the requirements of the Master of Music degree.
Fandango (1952)
Frank Perkins
(1908-1988)
University Symphonic Band
Frederick Speck, director
Piccolo
John Aurelius f
Georgetown
Flutes
Ty-juana TaylorJ
Jen Adams
Lara Wolff
Alexandria Bryant
Megan Johnson
Jen Summers
Smiths Grove
Fort Thomas
West Chester, OH
Beaver Dam
Pekin, IN
New Albany, IN
Oboes/English Horn
Josiane Parent f
Wendy Frazee *
Robert Howell
Corbin
Franklin, OH
Goshen
Clarinets
Jennifer Spainhour f
Katie Turner
Michael Burkhead
Katie Duvall
Heather Rountree
Laura Nation
LaShanda Walker
Heather Pigram
Floyds Knobs, IN
Murfreesboro, TN
Louisville
Jeffersonville, IN
Georgetown, IN
Goshen
Shelbyville
New Castle
Bass Clarinet
Kelsey Brawner
Louisville
Alto Saxophones
Amy Knight f
Alex Verdoorn
Newport, TN
Orange City, IA
Tenor Saxophone
George Flores
Winchester
Baritone Saxophone
Trent Barrick
Tim Miller*
Glasgow
Corning, AR
Horns
Sara Poe t
Huntingburg, IN
Matt Peyton
Marysville, IN
Stephanie Radcliffe
Lexington
Laura Campbell
Florence
Trumpets
John Bryant t*
Fairview, NC
Daniel Whaley*
Knoxville, TN
Reid Tanouye*
Maui, HI
Austin Coldiron
Richmond, VA
Melissa McDaniel*
Collierville, TN
Aaron Bell*
Louisville
Gabe Wartman
Fort Mitchell
Trombones
Aaron Stepp |
Glasgow
Allison Cross
Murray
Nick Wallace
Louisville
Euphoniums
Sarah Danyi f*
Oregon, OH
Kim Texter
Louisville
Brendan Vincent
Winchester
Jamie Hafley
Lebanon
Tubas
Mat Murphyf
Columbus, OH
Stephanie Bragg
Elizabethtown
Tyler Polston
Elizabethtown
Percussion
David Learned f
Evansville, IN
Zack Hubbard
Frankfort
Nicholas Layman
Louisville
Kelly Gibson
Louisville
Daniel Barbier
Louisville
* graduate student
f principal
University Jazz Combos
Monday, November 27, 2006, 8:00 p.m.
Malcom Bird Recital Hall
"Louis Armstrong" Combo
Tyrone Wheeler, director
L
Maiden Voyage
Take The "A" Train
Herbie
Duke
Neel Barua - Alto
°'7^. Jon Kohne - Piano
Chris Seal - Guitar
Chris Korenkiewicz - Bass
Meg Samples/Nick Layman - Drums
Hancock
Ellington
I
"Freddie Hubbard" Combo
Ansyn Banks, director
Our Love Is Here To Stay George Gershwin
One Note Samba Antonio Carlos Jobim
Tune Up Miles Davis
Merritt Navazio - Alto
Zach Driscoll - Alto
Allison Cross - Trombone
Jake Stith - Guitar
Paul Buchholz - Bass
Justin Heaverin - Drums
"Latin" Combo
Natalie Boeyink, director
Agua de Beber
Antonio Carlos Jobim
A Felicidade
Antonio Carlos Jobim
Jake Goran - Alto
Evan Hudson - Tenor
Chris Seal - Guitar
Natalie Boeyink - Bass
Brett Hawkins, Meg Samples,
Nick Layman - Percussion
"Miles Davis" Combo
Chris Fitzgerald, director
One Finger Snap Herbie Hancock
Falling in Love Again Friedrich Hollaender
Headin' Home Joshua Redman
Luke Barker - Tenor
Jon Epley - Guitar
Wade Honey - Piano
Jenna Mattingly - Bass
John Alvey - Drums
INIYERSIlYof I DULSV1ILE
dare to be gtvat
presents
University
Percussion
Ensemble
Brian Kushmaul, director
featuring
Graciela Perrone, dance
Tuesday Evening
November 28, 2006
8:00 p.m.
Malcolm Bird Recital Hall
PROGRAM
Three Brothers
Three Children's Songs
Ritmica Number 5 and 6
Michael Colgrass
(b. 1932)
Chick Corea
(b. 1941)
Amadeo Roldan
(1900-1939)
Ostinato Pianissimo
Regan Hecksher, xylophone solo
Henry Cowell
(1897-1965)
Tango, Movement III
AstorPiazzolla
(1921-1992)
Matt Greenwood and Brad Buehring, marimbas
Mudra
Bob Becker
(b. 1947)
Solea Por Bulerias arr - Brian Kushmaul
Graciela Perrone, dance and choreography
INIVERSllYof HXJISYl LLK
presents
dare to he great
University
Saxophone
Ensembles
John S. Moore, director
Wednesday Evening
November 29, 2006
8:00 p.m.
Malcolm Bird Recital Hall
b
Smoking is not permitted in the School of Music building. In the unlikely event office or other
emergency, please walk to the nearest exit. The use of recording devices and flash photograph/ is
strictly prohibited. Pliasesilence cell phones, electronic watches and pacers. Thank you.
Hr
PROGRAM
$ S3
Pollywogs Lake Talk (1978)
Sarabande (1996) r, j .
Suite (1959)
Prelude x
Five Tones
Eclogue
Interlude
Finale
Amy Knight, nlto
George Flores, tenor
2 .
l-tr
i Four Pieces from Odd Meter Duets (1964)
Aeolian Lament
Five-Layer Cakewalke
Ostinato Phrygiana
Rumbalita
Barry Ulman
(b. 1940)
Mark Alan Taggart
(b. 1956)
' 4 >
Lawson Lunde
(b. 1935)
Alex Verdoom, alto
Trent Barrick, baritone
Everette Gates
(b. 1921)
sy
Alex Gustafson and Trent Barrick, alto saxophones
Moto Perpetuo (1968)
Japp Geraedts
(1924-2003)
Rise (2001)
Warm, unhurried, and legato
Continuous, smooth, angular motion
Kevin Arbogast, alto Jon Rohner, alto
Matt Reidinger, tenor Daniel Reams, baritone
Steven Bryant
(b. 1972)
SAXOPHONE ORCHESTRA
John S. Moore, Director
Wachet ’auf, ruft uns die Stimme
Aubade (1985)
Johann Sebastian Bach
(1685-1750)
trans. Moore
Walter S. Hartlev
(b. 1927)
Adagio(1936) Samuel Barber
(1910-1981)
arr. Hollenbeck
Concertino (1982)
Vivo
Lento e fessible
Preciso
Harold Schiffman
(b. 1928)
Kevin Arbogast, soprano
Matt Reidinger, soprano
Amv Knight, alto
Alex Verdoorn, alto
Alex Gustafson, alto
Adam Ehrenfels, alto
Tommy Zinninger, tenor
Evan Hudson, tenor
George Flores, tenor
Michelle Berent, tenor
Daniel Reams, baritone
Trent Barrick, baritone
Kyle Brewer, bass
3o
Thursday, November W", 2006
3:00 p.m.
‘Xrfl-i-Ui Room 135
School of •
music
l XIXIMTh* 1 OUmLK
dare to /h* fin'llt
Two Fantasy Pieces, Op. 2
I. Romanze
David Buchholz, oboe
MUS 311/Booze
John Hernandez, pinna
Sonata
Massig bewegt
Matthew Peyton, horn
MUS 311/Booze
John Hernandez, pinno
Let Us Garlands Bring, Op. 18
Come away, come away, death
Austin Echols, boss-baritone
MUS 212/Tidwell
David George, piano
Vier Ernste Gesange
Ich Wandte Mich
Chirstopher Shortt, baritone
MUS 4'11/Weeks
Mary Ann Mattingly, piano
Danses gitanes. Op. 55, First Series
I. Zambra
Russ D. Wallace, piano
MUS 411/Kee
Convocation
Carl Nieleon
(1865-1931)
Paul Flindemith
(1895-1967)
Gerald Finzi
(1903-1986)
G.F. Handel
(1833-1897)
Joaquin Turina
(1882-1949)
School of
•music
l \I\KRSlTYi>|' KX'ISMUJC
20 Jure to be £ivui
Thursday, November 35, 2006
3:00 p.m.
Malcolm Bird Recital Hall
Suite for Unaccompanied Cello No. 3
Robert Wallen, guitar
MUS 203/Walker
Mai (1975)
George Flores, tenor saxophone
MUS 112/Moore
Suite in E Minor, BWV 996
Allemande
Bouree
Anthony Olympia, guitar
MUS 304/Walker
Thema und Variazionen, Op. 13
Lindsay Pummel!, horn
MUS 403/Heim
Jessica Litwiniec, piano
Legend
Convocation
J.S. Bach
(1685-1750)
Ryo Nada
(b. 1948)
J.S. Bach
(1685-1750)
Franz Strauss
(1822-1905)
Georges Enesco
(1881-1955)
Don Johnson, trumpet
MUS 303/Tunneli
Dr. Krista Wallace-Boaz, piano
School of
•music
M
Thursday, November2006
3:00 p.m.
Rehearsal Hall
i \t\i:RsnV(j i t ^ isMiij-:
Jure to be i>ivut
Convocation
IraciG
Sonatina for Tuba and Piano
Merle E. Hogg
Movement I
(b. 1922)
Stephanie Bragg, tuba
MUS 211/Jones
Drew Foley, piano
Euphonium Concerto Joseph Horovitz
I. Moderate (t>-1926)
Brendan Vincent, euphonium
MUS 511/Jones
Sarah Danyi, piano
Euphonium Concerto
Movement II
Kim Texter, euphonium
MUS 211/Jones
Sarah Danyi, piano
Joseph Horovitz
(b. 1926)
Sonata
I. Moderato
III. Rondo; Allegretto
Dominic Rotella, horn
MUS 403/Heim
Dr. Krista Wallace-Boaz, piano
Bernard Heiden
(1910-2000)
Sonata in E Minor
King Friedrich the Great
(1712-1786)
John Aurelius, flute
MUS 211/Karr
Austin Echols, piano
music
IMVERSriYof I DULSMLLg
dare to be great
presents
University
Flute
Ensemble
Kathleen Karr, director
Thursday Evening
November 30, 2006
8:00 P.M.
Malcolm Bird Recital Hall
Wclcometo wr.llNivr.Rsm' of Louisville School of Muisc.
We hope you enjoy the concert.
Smoking if not permitted in the School of Music building. In the
unlikely event of fire or other emergency, please walk to the nearest
exit. The use of recording deinces mid flash photography is strictly
prohibited.
Please silence cell phones, electronic watches and pacers.
Thank you.
University Flute Ensemble
JenniferAdams
J ohn Todd ALirelius
MimiDeguzman
ArielleDyda
Lindsy Edens
Megan Johnson
Jennifer Sommers
Robyn Welch
PROGRAM
Overture to The Barber of Seville GioachLno Rossini
(1792-1868)
arr. Richard McHenrv
University Flute Ensemble
Danse de la Chevre
Mimi Deguzman, flute
Arthur Honegger
(1892-1955)
Partita in A Minor
Sarabande
Arielle Dyda, flute
Johann Sebastian Bach
(1685-1750)
Adagio for Two Flutes Jean Baptiste Loeillet
(1680-1730)
Robyn Welch, flute
Lindsy Edens, flute
C.W. von Gluck
(1714-1787)
arr. Ervin Monroe
Minuet and Dance of the Blessed Spirits
from Orfco
University' Flute Ensemble
Kokopeli
Jennifer Sommers, flute
Katherine Hoover
(b. 1937)
Sonata No. 2 in D Major
Spirituoso
Georg Philipp Telemann
(1681-1767)
Megan Johnson, flute
Arielle Dvda , flute
w • r ; * W.A. Mozart
Overture to The Magic Flute (1753-1791)
arr. Nancy Nourse
University' Flute Ensemble
INIVERSnYof lOUISVILLE.
dare to be great
presents
University
Classical
Guitar
Ensemble
David Walker, director
Friday Evening
December 1, 2006
7:00 P.M.
Malcolm Bird Recital Hall
Welcometo the University of Louisville School ofMuisc.
We hope you enjoy the concert.
Smoking is not permitted in the School of Music building. In the
unlikely ei’cnt of fire or other emergency, please walk to the nearest
exit. The use of recording devices and flash photography is strictly
prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
University Classical Guitar Ensemble
David Walker, director
Jennifer Baker
Billie Bradford
Anthony Olympia
Kevin Shank
Katelyn Thompson
Mathew Wallen
PROGRAM
La Rossignol Anonymous,
Drewene’s Accords from Jane Pickering's lute book
(16th century)
Anthony Olympia, Katelvn Thompson,
Billie Bradford, Matthew Wallen
from Suite in E Minor Johann Sebastian Bach
Allemande (1685-1750)
Bourree
Anthony Olympia
Concerto in G Major Antonio Vivaldi
Allegro (1678-1741)
Andante
Allegro
Full Ensemble
An Malvina
Billie Bradford
Johann Kaspar Mertz
(1806-1856)
Siciliana
Moderato
J.S. Bach
Franz Joseph Haydn
(1732-1809)
Anthony Olympia, Katelyn Thompson,
Billie Bradford, Matthew Wallen
Capricho Arabe
Matthew Wallen
Francesco Tarrega
(1852-1909)
Valz No. 3
Agustin Mangore Barrios
(1885-1944)
Kevin Shank
Tango
Full Ensemble
Isaac Albeniz
(1860-1909)
music
IMVERSITYof IOUISVILLE
dare to be great
presents
Student
Recital
Matt Hubbard,
trombone
Student of Brett Shuster
with
Krista Wallace-Boaz, piano
David Bretz, tenor trombone
Saturday Afternoon
December 2, 2006
4:00 P.M.
Malcolm Bird Recital Hall
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this afternoon.
Smoking is not permitted in the School of Music building.
In the unlikely event of fire or other emergency, please walk to the nearest exit.
The use of recording devices and flash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
PROGRAM
Spain David Fetter
(b.1938)
Canzoni per Basso SoloV GirolamoFrescobaldi
(1583-1643)
Meditation from Thais Jules Massenet
(1842-1912)
arr. Douglas Yeo
Blackhawk MichaelDavis
—- PAUSE
Concerto for Bass Trombone
Vaclav Nelhybel
(1919-1996)
Conversation
for Tenor and Bass Trombone
David Bretz, tenor trombone
Charles Small
(b. 1927)
music
IMVERSIlYof LOUISVILLE
dare to be great
presents
Student
Recital
Daniel Whaley and
Don Johnson,
trumpets
Students of Michael Tunnell
with
Krista Wallace-Boaz, piano
Saturday Afternoon
December 2, 2006
2:00 P.M.
Malcolm Bird Recital Hall
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this afternoon.
Smoking is not permitted in the School of Music building.
In the unlikcl}/ event of fire or other emergency, please walk to the nearest exit.
The use of recording devices and flash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
PROGRAM
Sonata in D for Two Trumpets Petronio Franceschini
Grave (1651-1680)
Allegro
Adagio
Allegro
Take a Train Anthony Plog
(b. 1947)
Concerto for Trumpet
Alexandra Pakhmutova
(b. 1929)
Daniel Whaley, trumpet
Textures
Anthony Plog
Quiet City
— INTERMISSION —
Aaron Copland
(1900-1990)
Dialogue
Anthony Plog
Legend
Don Johnson, trumpet
Georges Enescu
(1881-1955)
Statements
Anthony Plog
Twirling Fanfare
from Remembrances for Two Trumpets
Donald Erb
(b. 1927)
IMVERSIlYof KXJLSVILLE.
1 "" -
dare to be great
presents
Student
Recital
Zachary Schell, trumpet
Student of Michael Tunnell
and
Brent "Rusty" Crimm, trombone
Student of Brett Shuster
with
Debbie Dierks , piano
Monday Evening
December 4, 2006
8:30 P.M.
Margaret Comstock Concert Hall
Welcome to the University of Louisville School of Music.
We hope you enjoy the concert this evening.
Smoking is not permitted in the School of Music building,
hi tlw unlikely event of fire or other emergency, please walk to the nearest exit.
The use of recording devices and flash photography is strictly prohibited.
Please silence cell phones, electronic watches and pagers.
Thank you.
PROGRAM
Suite in D Major
I. Ouverture
II. Allegro (Gigue)
III. Air (Minuet)
IV. March (Bouree)
V. March
Sonata for Trombone and Piano
I. Allegro Maestoso
II. Adagio
III. Allegro Giocoso
Side Partners Herbert L. Clarke
(1867-1945)
— INTERMISSION
Sonata for Trumpet
I. With Strength and Vigor
II. Rather slowly with freedom
III. Moderately fast with energy
Thoughts of Love Arthur Pryor
(1870-1942)
Cousins Herbert L. Clarke
(1867-1945)
Kent Kennan
(b. 1913)
Eric Ewazen
(b. 1954)
George Frideric Handel
(1685-1759)
School of Music
University of Louisville
Presents
String Chamber Ensembles
Monday Evening
December 4, 2006
8:00 p.m.
Bird Hall
Quintet in A Major "Trout"
Allegro Vivace
Mihai Spin, violin
Felicia Hogan, viola
Erin Cassel, cello
Nick Wooldridge, bass
Jim Dersch, piano
Duet
Allisson Reber, viola
Nicole Boguslaw, cello
Concerto for Four Violins
Allegro
Un poco Adagio
Vivace
Nathan Chapman, violin
Ashley Wolf, violin
Marisa Barnes, violin
Elizabeth Wooldridge, violin
Franz Schubert
(1797-1828)
Paul Hindemith
(1895-1963)
Georg Philipp Telemann
(1681-1767)
Duos for Double Bass
Quarter note = 84
Song
Song
Gigue
Quintet in C major, D 956
Adagio
Frank Proto
(b. 1941)
Charles Blanton, double bass
Lauren Taylor, double bass
Franz Schubert
(1797-1828)
Alexandra Ostroff, violin
Jordan Lynem, violin
Monica Clarke, viola
Charlie Patton, cello
Katie Schladand, cello
Intermission
Barber of Seville: Overture
Gioacchino Rossini
(1792-1868)
Arr. Douglas Moore
Kimberly Burger, Molly Goforth, Byron Farrar and Luke Darville, cellists
Quartet in G Minor, Op.20, Nr. 3
Allegro con spiiito
Gabrielle Boguslaw, violin
Heather Norwood, violin
Alison Simpson, viola
Audrey Bowlds, cello
Duo (1954)
Colloquy
Dance
Two Pieces
Prelude
Gavotte
Sonata in E Minor
Vivace
Allegro
Adagio
Giga: Allegro non troppo
Scott Moore, violin
Jim Dersch, viola
Brittany Whelan, viola
Daniel Crawley, viola
F. J. Haydn
(1732-1809)
Robert Starer
(1924-2001)
Dimitri Shostakovich
(1906-1975)
arr. Jamie Hofman
Joseph Boismortier
(1691-1755)
Felice Howard, double bass
Grant Jacobs, double bass
Variations on "Ld ci darem la mano" from Mozart's "Don Giovanni"
Leslie Heinzen, violin
Anna Dolan, violin
Jamie Hofman,viola
When Jesus Wept
Duetto for Cello and Bass
Allegro
Ludwig van Beethoven
(1770-1827)
William Billings
(1746-1800)
arr. Sidney King
Gioacchino Rossini
(1792-1868)
Marlene Ballena, cello
Elizabeth Adams, bass
Live Music
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